Political Songsters for the Presidential Campaign of 1860.

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 Collins 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 familiar to the populace through their performances. Patriotic tunes named included Yankee Doodle, America , and the Star-Spangled Banner.

Collaborative Piano Student Recital, October 13, 1993

This is the concert program of the Collaborative Piano Student Recital on Wednesday, October 13, 1993 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were "In years defaced" by Gerald Finzi, "At a lunar eclipse" by G. Finzi, "At day-close in November" by Benjamin Britten, "Proud songsters" by B. Britten, Spring, Winter, Dirge, and Diaphenia from "Six Elizabethan Songs" by Dominick Argento. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Program; 1991

https://digitalcommons.buffalostate.edu/rs-programs/1119/thumbnail.jp

Benjamin Britten Festival: Honoring the 75th anniversary of his birth, October 7, 1988

This is the concert program of the Benjamin Britten Festival: Honoring the 75th anniversary of his birth performance on Friday, October 7, 1988 at 8:30 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Canticle I: "My Beloved Is Mine", Op. 40, A Charm of Lullabies, Op. 41, Winter Words, Op. 52, and Canticle III: "Still Falls The Rain", Op. 55 by Benjamin Britten. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

An Apology for Confederate Poetry

This paper explores the reasons why poetry written in the Confederate states during the Civil War is rarely included in the American literary canon. Historians and literary critics have dismissed Confederate poetry as nothing more than jingoistic and sentimental trash in rhyme. Nevertheless, poems buried in the mountains of Southern literary magazines and journals from the period tell a more nuanced story. Covering a wide and fascinating range of subjects, both good and bad Confederate poems aptly reflected how the Southern popular mind reacted to and dealt with the events of the war

Weekly Bulletin - Vol. 1, No. 19

In this issue: - Attention Seniors - Council Meeting-- School pins and keys-- Nickels missed-- Anatomical equipment - The Calendar - Desert Songsters - Arroyo - The National Pastime Returns - Comstock\u27s Entertain - Ping Pong - Wedding Bells! - Lyceum Ticketshttps://scholarsrepository.llu.edu/weeklybull/1018/thumbnail.jp

Program; 1991-11-10

https://digitalcommons.buffalostate.edu/rs-programs/1122/thumbnail.jp

Vernacular Song, Cultural Identity, and Nationalism in Newfoundland, 1920-1955

Although a force in Newfoundland politics and culture, nationalist sentiment was not strong enough in 1948 to prevent confederation with Canada. The absence among many Newfoundlanders of a strong sense of belonging to an independent country was the underlying reason for Smallwood's referendum victory. Most islanders were descendants of immigrants from either Ireland or the English West Country. Nowadays, they view themselves as Newfoundlanders first and foremost, but it took centuries for that common identity to be forged. How can we gauge when that change from old (European) to new (Newfoundland) identity took place in the outport communities? Vernacular song texts provide one valuable source of evidence. Three collectionsof Newfoundlandsongs-Gerald Doyle's TheOld TimeSongsandPoetry of Newfoundland,Elisabeth Greenleafs Ballads and Sea Songs ji-om Nev.foundland. and Maud Karpeles' Folk Songs from Newfoundland-illuminate the degree to which by the late 1920s a Newfoundland song-culture had replaced earlier cultural traditions. These songs suggest that the island was still a cultural mosaic: some outports were completely Irish, others were English, and in a few ethnically-mixed communities, including St. John's, there was an emergent, home-grown, patriotic song-culture. Cultural nationalism was still a minority tradition in the Newfoundland of 1930