Get The Voices that Are Gone: Themes in Nineteenth-Century PDF

By Jon W. Finson

During this specified and readable research, Jon Finson perspectives the mores and values of nineteenth-century americans as they seem of their renowned songs. the writer units forth lyricists' and composers' notions of courtship, expertise, dying, African american citizens, local american citizens, and ecu ethnicity through grouping songs topically. He is going directly to discover the interplay among musical sort and lyrics inside of every one subject. The lyrics and altering musical types current a bright portrait of nineteenth-century the US. The composers mentioned within the booklet variety from Henry Russell ("Woodman, Spare That Tree"), Stephen Foster ("Oh! Susanna"), and Dan Emmett ("I want i used to be in Dixie's Land"), to George M. Cohan and Maude Nugent ("Sweet Rosie O'Grady"), and Gussie Lord Davis ("In the bags trainer Ahead"). Readers will realize songs like "Pop is going the Weasel," "The Yellow Rose of Texas," "The Fountain within the Park," "After the Ball," "A Bicycle equipped for Two," and so on which achieve importance via being put within the higher context of yank historical past.

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Thomas. Set in Elizabethan times to judge from the archaic language and the costumes in the engraving on the cover, this song shows the suitor abandoning his damsel after she fails the test of perfect fidelity. Hewitt was not alone by any means in carrying this tradition of anachronism into the forties. James G. Maeder provides a similar combination of theme and style in his "Answer to The Carrier Dove" (1841) with "words by a lady"; it comes in reply to Daniel Johnson's song mentioned above. 27 His operatic training serves him well in "The Carrier Dove," which much resembles Hewitt's "Knight" in its 6/8 meter and full accompaniment.

The hours grow sad while I ponder Near the silent spot where thou art laid, 38 THE DISTANT BELOVED And my heart bows down when I wander By the streams and the meadows where we strayed. All this takes place over a minimal piano texture in which simple arpeggiated and block chords alternate, rendering the song accessible to the widest possible audience of middle-class consumers. " (1847), "Lily Ray" (1850), "Annie My Own Love" (1853), "Lula Is Gone" (1858), "Linda Has Departed" (1859), and "Cora Dean" (1860).

By the end of this period songwriters had sublimated the mores of courtliness beneath a more mundane surface, though occasional features, both linguistic and musical, reveal their continuing presence. The process of translation runs just behind the craze for medieval anachronism in songs like "Her Smiling Eyes" (1818) by Peter K. Moran. Moran (d. 1831) brought his skills as organist, violinist, and cellist from Ireland to New York, where he played in pit orchestras and eventually owned a store selling instruments and music.

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