Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 Political Songsters for the Presidential Campaign of 1860. Cheryl T. Taranto Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Taranto, Cheryl T., "Political Songsters for the Presidential Campaign of 1860." (1994). LSU Historical Dissertations and Theses. 5760. https://digitalcommons.lsu.edu/gradschool_disstheses/5760 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 manuscript has been reproduced from the microfilm master. 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Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9502147 Political songsters for the presidential campaign of 1860 Taranto, Cheryl T., Ph.D. The Louisiana State University and Agricultural and Mechanical Col., 1994 UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 POLITICAL SONGSTERS FOR THE PRESIDENTIAL CAMPAIGN OF 1860 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 Cheryl T. Taranto B.M.E., Louisiana State University, 1981 M.M.E., Louisiana State University, 1983 M.L.I.S., Louisiana State University, 1987 May 1994 TABLE OF CONTENTS LIST OF FIGURES ........................................... iii ABSTRACT ........... iv CHAPTER 1 INTRODUCTION ..................................... 1 2 T U N E S ............................................. 42 3 T E X T S ............................................. 85 4 CONCLUSIONS ..................................... 133 REFERENCES .................................................. 139 APPENDIXES A SONGSTERS OF THE 1860 PRESIDENTIAL CAMPAIGN. .143 B TUNES SUGGESTED IN POLITICAL SONGSTERS OF 1860 176 C TUNES SUGGESTED FOR THREE OR MORE TEXTS . .180 D SONG TITLES IN REPUBLICAN SONGSTERS .......... 192 VITA .......................................................207 ii LIST OF FIGURES 1. Examples of Score Format in Sheet Music and S o n g s t e r s .......................... 45 2. "Ho! for Kansas," from the Western Bell. A Collection of Glees. Quartetts. and Choruses. music by Frederick Pease, words by Lucy La r c o m ............................ 57 3. "Ho! for Kansas," from Songs for the Great Campaign of 1860. music by Stephen Foster, words by Lucy La r c o m ............................ 59 4. "Araby's Daughter," from The Young Men's Vocalist . 67 5. "Old Oaken Bucket" (Boston: Oliver Ditson) .... 68 6. The Chorus of "The Star Spangled Banner" as It Appears in Songs for the Great Campaign of 1860 ............................................. 77 7. "Hail Columbia," from Songs for the Great Campaign of 1860 80 iii ABSTRACT Songsters, collections of song texts usually containing no music, proliferated in the nineteenth century for various purposes. They provided a quick and inexpensive means of disseminating popular song texts, not only for pure musical entertainment, but also for political purposes, such as temperance, abolition, and campaigns for national office. This study explores how texts contained in 1860 presidential campaign songsters were used as a means of getting political messages across, the popular tunes of the time that were used as vehicles for the lyrics, and the role of songsters in the activities leading up to the election. Songsters were produced for three of the four candidates for president in 1860 (Abraham Lincoln, Stephen Douglas, and John Bell). The texts contained within these songsters presented most of the volatile and complex issues of the time, such as slavery and popular sovereignty, in a way more easily understood by the public at large. In addition to addressing issues such as these, texts often contained political rhetoric upholding one candidate while maligning opponents. Songsters were disseminated in a number of ways. Campaign groups such as the Wide-Awakes (Lincoln) and the Bell-Ringers (Douglas) were responsible for providing songsters and music at political gatherings such as campaign rallies and ratification conventions. Advertisements for songsters appeared in newspapers such as the New York Times and the Campaign Plain Dealer and Popular Sovereignty Advocate, published for the Douglas campaign. Most songsters did not contain music, but names of tunes were given or implied by the meter of the text. Much of the music was from minstrelsy, Irish/Scottish balladry, or patriotic music of the time. Dan Emmett and Stephen C. Foster contributed the majority of the minstrel music, while such compilers as Robert Burns (Scots Musical Museum) provided Scottish tunes such as "Auld Lang Syne." Groups such as the Hutchinson Family Singers provided a means of making songs familier to the populace through their performances. Patriotic tunes named included "Yankee Doodle," "America," and the "Star-Spangled Banner." v CHAPTER 1 INTRODUCTION The period of United States history leading up to the Civil War was a particularly volatile time. Issues such as slavery, federal power, and states' rights were debated throughout the nineteenth century prior to the Civil War. These same issues were important in the 1860 presidential campaign in which Abraham Lincoln, Stephen Douglas, John Breckenridge, and John Bell were candidates. During the course of the campaign, music could be heard at political events such as rallies and parades for each of the candidates. Songsters, collections of song texts usually without music and used at political events, are a particularly valuable source for studying issues and social and musical contexts of the political campaigns of i860. The definition of songster has not been addressed adequately over the years. Only a few musical dictionaries and encyclopedias address the topic of songsters. Arthur Schrader defines songster as an "anthology of secular song lyrics, popular, traditional, or topical (occasionally with melody lines) designed to fit in the pocket."1 Irving Lowens' definition of a songster is a collection of three xNew Grove Dictionary of American Music. 4 vols. (New York: Grove's Dictionaries of Music, 1986), s.v. "Songster." 2 or more secular poems intended to be sung.2 The definition of songster used for this study is drawn from those of Lowens and Schrader: an anthology of three or more secular song lyrics topical in nature and occasionally with music. There are some songsters that, although not extremely large, cannot fit into the pocket as Schrader contends. Some sacred collections of the time are labeled songsters on their title pages;3 these are excluded from the definition used in this study, as they are more properly considered hymn books. Most songsters do not contain musical notation, but references to names of tunes to be used with new texts are frequently given. No tunes are indicated for many of the texts; structure and meter of the text determine what tune, or tunes, could be used for the text. In many cases, new texts were parodies of, or otherwise related to, older texts already associated with the tune. In those songsters that do contain some music, both melody and harmony are written out. Songsters were produced in the nineteenth century in mass quantities on cheap paper for various purposes and then frequently discarded after the immediate need had 2Irwing Lowens, Bibliography of Songsters printed in America before 1821 (Worcester: American Antiquarian Society, 1976), ix. 3For example, Amos Pilsbury, The Sacred Songster, or. A Collection of Hvmns and Spiritual songs (Charleston, South Carolina: G.M. Bounetheau, 1809). 3 passed. Tunes and song texts that appeared in songsters can sometimes be traced to sheet music publications, newspapers, and broadsides. Songsters represented a inexpensive and quick means of disseminating popular songs of the time in a compact