Early American Sheet Music: Its Lure and Its Lore, 1768-1889

By Harry Dichter; Elliott Shapiro | Go to book overview

Introduction

Agent, barber, bath house, black beaver hats, blacking, boarding house, furs, hair dresser, iron cement, jam, looking glasses, maps, painter, paper hangings, tavern keeper, trimmings, umbrellas, wig and curl maker.

THESE were some of the odd trades and businesses that directories, advertisements, etc., tell us early music dealers and publishers also had to "traffick" in to make both ends meet. And their sign read: "Music Emporium," "Musical Magazine," "Musical Repository," "Music Saloon," (Music store to you), showing certain phases of American life, some now extinct, that were tied up with the buying and selling of early music.

The last few years have shown a decided growth of interest on the part of both collectors and dealers in old music. Some are interested in the pictorial appeal the cover of the sheets may have, others in the subject matter, the imprint, or the musical value.

It was originally intended to divide American music into seven or eight groups, and to comment on them here in detail. It was discovered that this very purpose had been achieved by placing the various "items" in chronological order throughout. See contents page.

It might, however, not be amiss to comment on a few "high spots."

In the very early music, the imprints of the Carrs, the Hewitts, Gilfert, Graupner, Von Hagen, Blake, Paff and the Willigs will be found eminently worth while. An outstanding sheet of music is THE BATTLE OF PRAGUE, with the engraved head of Washington. Early patriotic songs are in demand, including all editions Of YANKEE DOODLE, HAIL COLUMBIA, and ADAMS AND LIBERTY--particularly those with vignette portraits. Also songs of all the wars, especially the War of 1812, which gave us the STAR SPANGLED BANNER, PERRY'S VICTORY, HULL'S VICTORY, etc. There were many songs about Lafayette's return to the U. S. in 1824.

Early city views, such as NEW YORK O WHAT A CHARMING CITY and THE CARRIER DOVE (also a New York view), particularly attract the eye. Collectors should specialize in views of their respective localities on music covers. Early publishers issued a number of sheets bearing pictorial backgrounds of their Music Saloons, such as BUY A BROOM, used by three or four different firms, and the GINGERBREAD MAN, showing the Endicott store.

Illustrated Negro songs of the JIM CROW type (see illustration) are

-xvii-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Early American Sheet Music: Its Lure and Its Lore, 1768-1889
Table of contents

Table of contents

  • Title Page iii
  • Foreword vii
  • Contents ix
  • List of Illustrations xii
  • Acknowledgments xiii
  • Overture to Words and Music xv
  • Introduction xvii
  • First Editions xxiii
  • Part I Classified Listing of Early American Sheet Music xxxi
  • Presidents of the United States (1789-1941) 1
  • Music of the American Revolution (hostilities 1775-1783) 7
  • Early Music (1788-1810) 11
  • Early Patriotic and Historical Items (not Connected with Any War) 15
  • Yankee Doodle (in Chronological Order) 17
  • Hail Columbia (president's March) 21
  • Adams and Liberty ("Anacreon" Tune) 23
  • Undeclared War with France (hostilities 1798-1800) 24
  • George Washington 26
  • War with Tripoli (hostilities 1801-1805) 28
  • Early Indian Items 29
  • Early Negro Songs 30
  • War of 1812 (hostilities 1812-1815) 32
  • Star Spangled Banner (foreword) 34
  • Prior Uses of the "Anacreon" Tune 35
  • Star Spangled Banner Editions (the Imprints Are Given Exactly as Printed, in Each Case) 36
  • Songsters Containing Star Spangled Banner 38
  • Home Sweet Home 39
  • Lafayette 42
  • Military Items 45
  • My Country 'tis of Thee (america) 46
  • Early Comic Songs 47
  • Illustrated Negro Minstrel Songs (of the "Jim Crow" Type) 51
  • Non-Illustrated Negro Minstrel Songs 54
  • Ship Items 55
  • New York City Items 58
  • Political Items 60
  • Tobacco Items 63
  • Temperance Items 65
  • Abolition Items 67
  • Skating Items 68
  • Railroad Items 70
  • Columbia, the Gem of the Ocean 72
  • Indian Items 74
  • Dance Items 76
  • Fire Items 78
  • Mexican War (hostilities 1846-1847) 81
  • Jenny Lind Items 83
  • Early California Imprints 84
  • Uncle Tom's Cabin 85
  • Music Stores (the Name of the Publisher Precedes Each Title) 87
  • Stephen C. Foster First Editions 92
  • Stephen C. Foster Confederate Editions (description Condensed) 96
  • Express Company Items 98
  • College Views (the Name of the College Precedes Each Title) 99
  • College Songs 101
  • Later Comic Items 103
  • Telegraph and Cable Item 104
  • Dixie 105
  • Abraham Lincoln 109
  • Maryland My Maryland 113
  • Civil War Items (hostilities 1861-1865) 115
  • Confederate Items 119
  • Money Items 125
  • Stamp Items 128
  • Oil Items 129
  • Croquet Items 130
  • Trapeze and Aerial Items 131
  • Velocipede Items 132
  • Telephone Item 133
  • Harrigan and Hart Items 134
  • Electricity Item 136
  • Typewriter Item 137
  • Portraits on Music 138
  • Famous Songs (description Condensed) 139
  • Songs of Literary Interest (description Condensed) 156
  • Part II Directory of Early American Music Publishers 164
  • Part III Lithographers and Artists Working on American Sheet Music Before 1870 *
  • Bibliography 258
  • Part IV Illustrations 260
  • Index *
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 292

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.