Click through to view resources and links for the following favorite songs from our repertoire:
[view most recent songs]
Star-Spangled Banner (Key, 1814)-What's the connection between the US National Anthem, militant slave uprisings, and the burning of the White House?
Home, Sweet Home (Bishop & Payne, 1823)-John Howard Payne's lyrics, from the 1823 opera, "Clari, Maid of Milan", described as "a jewel, cut and set with perfect art":
Jim Crow (Rice, 1830)-If we can hold our immediate revulsion at the (now offensive) language, we'll find some shocking critique and surprisingly liberal views in the lyrics...
Mary Blane (1840s)-The lost-love minstrel tune “Mary Blane” was one of the most popular songs of the early minstrel era (see Mahar’s list):
Angelina Baker (Foster, 1850)-Stephen C. Foster ~ Letter to E. P. Christy (May 25, 1852) ~ "As I once intimated to you, I had the intention of omitting my name* on my Ethiopian songs, owing to the prejudice against them by some, which might injure my reputation as a writer of another style of music..."
I’m Off for California (1850s?)-Here’s a song you’ll recognize, and yet… it’s a side of American history you’ve likely never heard: The melody is Stephen Foster‘s first big hit, “Oh Susannah” (1847), ubiquitous in its time and still common in the “folk song” tradition over a century and a half later. Foster’s original composition features two world-changing technologies of the day:
Swing Low, Sweet Chariot (Willis, 1850s?)-Wallis Willis created the song "Swing Low Sweet Chariot" sometime before 1862; we like to pair it with this 1862 photograph by Concord, NH's own H.P Moore.
Old Folks At Home (Foster, 1851)-Stephen Foster's 1851 song "Old Folks At Home" provides an excellent introduction to the antebellum period:
Ring, Ring De Banjo (Foster, 1851)-Frederick Douglass (1845) ~ “Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears..."
Uncle Tom’s Cabin (1852-1859?)-"Euclid... is no child for effecting social revolutions, but an impassioned song may set a world in conflagration." ~ The London Times (3 September 1852)
Jordan is a Hard Road to Travel (Emmett, 1853)-Here are a few versions of Dan Emmett's song, displaying the far-reaching sense of international politics and breaking-news commentary to be found on the antebellum popular stage...
Walk in the Parlor (1850s)-Note especially the connections delineated between slavery, land, and knowledge...
Nelly Gray (Hanby, 1856)-Benjamin Hanby wrote Nelly Gray in 1856, in response to a fugitive slave case ...
I’m Off for Nicaragua (Rice, 1858)-Phil Rice gives us this striking vision of slavery carried south in the service of the Filibuster president, General William Walker:
Picayune Butler’s Come to Town (Rice, 1858)-"And when he made his appearance you should have heard the reception he got. I thought the roof would fall off...": Picayune Butler takes New York & Tokyo by storm.
United States it am de place (Rice, 1858)-This mysterious half-dialect minstrel song from Rice's 1858 Method for the Banjo offers an intriguing glimpse into the economics and racial politics of the antebellum era...
Uncle Sam’s Farm: “One grand, ocean-bound republic”-Stephen A. Douglas (1858): "This Union will not only live forever, but it will extend and expand until it covers the whole continent, and makes this confederacy one grand, ocean-bound Republic..."
Here I Am as You Diskiver (1860)-Blackface minstrel tune conflating plantation slavery, the "Indian Nation" (& associated issues of Removal), & antebellum militarism in public space:
John Brown’s Original Marching Song (1861)-So is this song about THE John Brown (abolitionist & domestic terrorist), or a more obscure John Brown (enlisted in the 12th MA)... ?
Picket Guard (Beers & Hewitt, 1861)-"His musket falls slack, his face dark and grim,
Grows gentle with memories tender,
As he mutters a prayer for the children asleep--
For their mother--may Heaven defend her."
Kingdom Coming (Work, 1862)-Popular in both the North and the South, perhaps because of his ambiguous treatment of the plight of "contraband" (liberated slaves) ...
Babylon is Fallen (Work, 1863)-After the Emancipation Proclamation changed the face of the Civil War, Henry Clay Work released this sequel to his popular "Kingdom Coming":
Song of the 1st of Arkansas (1864)-This rewrite of "Battle-Hymn of the Republic" puts the agency of social and economic upheaval squarely on the shoulders -- or rather, under the boot-heels -- of Colored Troops.
Marching Through Georgia (Work, 1865)-This jaunty march commemorating Sherman's March to the Sea proved to be one of Henry Clay Work's most famous pieces:
Star-Spangled Banner (Key, 1814) - What's the connection between the US National Anthem, militant slave uprisings, and the burning of the White House? 
Home, Sweet Home (Bishop & Payne, 1823) - John Howard Payne's lyrics, from the 1823 opera, "Clari, Maid of Milan", described as "a jewel, cut and set with perfect art":
Jim Crow (Rice, 1830) - If we can hold our immediate revulsion at the (now offensive) language, we'll find some shocking critique and surprisingly liberal views in the lyrics...
Mary Blane (1840s) - The lost-love minstrel tune “Mary Blane” was one of the most popular songs of the early minstrel era (see Mahar’s list):
Lucy Neal (J. P. Carter, 1844) - A relentless love song & bitter critique of slavery: 
Gum Tree Canoe (1847?) - A peculiar plantation fantasy of love & liberation...
Ho! for California! (Hutchinson, 1849) - "Composed for a group of overland emigrants, who left Massachusetts, in the spring of 1849." 
Angelina Baker (Foster, 1850) - Stephen C. Foster ~ Letter to E. P. Christy (May 25, 1852) ~ "As I once intimated to you, I had the intention of omitting my name* on my Ethiopian songs, owing to the prejudice against them by some, which might injure my reputation as a writer of another style of music..."
I’m Off for California (1850s?) - Here’s a song you’ll recognize, and yet… it’s a side of American history you’ve likely never heard: The melody is Stephen Foster‘s first big hit, “Oh Susannah” (1847), ubiquitous in its time and still common in the “folk song” tradition over a century and a half later. Foster’s original composition features two world-changing technologies of the day:
Swing Low, Sweet Chariot (Willis, 1850s?) - Wallis Willis created the song "Swing Low Sweet Chariot" sometime before 1862; we like to pair it with this 1862 photograph by Concord, NH's own H.P Moore. 
Old Folks At Home (Foster, 1851) - Stephen Foster's 1851 song "Old Folks At Home" provides an excellent introduction to the antebellum period: 
Ring, Ring De Banjo (Foster, 1851) - Frederick Douglass (1845) ~ “Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears..."
Uncle Tom’s Cabin (1852-1859?) - "Euclid... is no child for effecting social revolutions, but an impassioned song may set a world in conflagration." ~ The London Times (3 September 1852)
Jordan is a Hard Road to Travel (Emmett, 1853) - Here are a few versions of Dan Emmett's song, displaying the far-reaching sense of international politics and breaking-news commentary to be found on the antebellum popular stage...
My Old Kentucky Home (Foster, 1853) - Stephen Foster's anthem recounts "Uncle Tom's Cabin" in three verses.
Slavery is a Hard Foe to Battle (Hutchinson Family, 1855) - ...updates Dan Emmett's "Jordan is a Hard Road to Travel" for an abolitionist audience.
Walk in the Parlor (1850s) - Note especially the connections delineated between slavery, land, and knowledge...
Nelly Gray (Hanby, 1856) - Benjamin Hanby wrote Nelly Gray in 1856, in response to a fugitive slave case ...
I’m Off for Nicaragua (Rice, 1858) - Phil Rice gives us this striking vision of slavery carried south in the service of the Filibuster president, General William Walker:
Picayune Butler’s Come to Town (Rice, 1858) - "And when he made his appearance you should have heard the reception he got. I thought the roof would fall off...": Picayune Butler takes New York & Tokyo by storm.
United States it am de place (Rice, 1858) - This mysterious half-dialect minstrel song from Rice's 1858 Method for the Banjo offers an intriguing glimpse into the economics and racial politics of the antebellum era...
Uncle Sam’s Farm: “One grand, ocean-bound republic” - Stephen A. Douglas (1858): "This Union will not only live forever, but it will extend and expand until it covers the whole continent, and makes this confederacy one grand, ocean-bound Republic..."
Here I Am as You Diskiver (1860) - Blackface minstrel tune conflating plantation slavery, the "Indian Nation" (& associated issues of Removal), & antebellum militarism in public space:
Battle Hymn of the Republic (Howe, 1861) - Written in November 1861 by abolitionist poet Julia Ward Howe, this song seems to glimpse the fiery trial ahead:
Bonnie Blue Flag (Macarthy, 1861) - Harry Macarthy's lively jig documents the secession of the southern states in winter 1860-1861...
John Brown’s Original Marching Song (1861) - So is this song about THE John Brown (abolitionist & domestic terrorist), or a more obscure John Brown (enlisted in the 12th MA)... ?
Maryland, My Maryland (Randall, 1861) - "She meets her sisters on the plain-
'SIC SEMPER!' 'tis the proud refrain..."
Picket Guard (Beers & Hewitt, 1861) - "His musket falls slack, his face dark and grim,
Grows gentle with memories tender,
As he mutters a prayer for the children asleep--
For their mother--may Heaven defend her."
Vacant Chair (Root & Washburn, 1861) - George Root's setting of Henry S. Washburn's popular poem ...
Abraham’s Daughter (Winner, 1861) - "One Country and one Flag, I say, whoe'er the war may slaughter..."
Dixie’s Land No. 5 (“Come, patriots all who hate oppression…”) - This LOC.gov songsheet shows us how Union partisans re-purposed Emmett’s 1859 minstrel walkaround: The opening lines establish reasons for
Battle Cry of Freedom (Root, 1862) - "And at the fourth verse a thousand voices were joining in the chorus..."
Home, Sweet Home: “Had we not had the river between us” - One private's account of the power & presence of music after a terrible battle:
Kingdom Coming (Work, 1862) - Popular in both the North and the South, perhaps because of his ambiguous treatment of the plight of "contraband" (liberated slaves) ... 
Richmond a Hard Road to Travel (1862) - An annotated look at an epic parody...
Babylon is Fallen (Work, 1863) - After the Emancipation Proclamation changed the face of the Civil War, Henry Clay Work released this sequel to his popular "Kingdom Coming":
Kingdom Coming: “It was a proud moment for Robert” (1863) - Esther Hill Hawks ~ Diary (February 1863) ~ "It was a proud moment for Robert when he placed a guard of colored soldiers around the house of his former owner..."
Tenting on the Old Camp Ground (Kittredge, 1863) - "He thought of the many dear boys already gone over to the unseen shore ..."
Southern Girl with the Homespun Dress - "Many a woman who never before held a plow, is now seen in the corn-field..."
Tenting on the Old Camp-Ground (Parody) - "We're drinking tonight in the old bar-room,
Give us a glass to cheer..."
Roll, Alabama, Roll (1864) - Recounting the final battle of the most famous Confederate privateer...
Song of the 1st of Arkansas (1864) - This rewrite of "Battle-Hymn of the Republic" puts the agency of social and economic upheaval squarely on the shoulders -- or rather, under the boot-heels -- of Colored Troops.
Battle Cry of Freedom: “If we’d had your songs…” - Account given by anonymous captured Confederate officer...
Dixie: “One of the best songs I have ever heard…” (1865) - Abraham Lincoln (April 10, 1865): "Our adversaries over the way attempted to appropriate it, but I insisted yesterday that we fairly captured it."
Jeff in Petticoats (Tucker & Cooper, 1865) - A humorous slather of wordplay and derision aimed at (former) confederate president Jefferson Davis...
Marching Through Georgia (Work, 1865) - This jaunty march commemorating Sherman's March to the Sea proved to be one of Henry Clay Work's most famous pieces: 