Opinionated Civil War Music Article

Subject: RE: BS: Opinionated Civil War Music Article
From: catspaw49
Date: 09 Mar 01 - 09:44 AM

Well everyone is covering the bases pretty well and I couldn't agree more. Reenactors can do a good job of transmitting info that is accurate by doing much what Banj mentioned which is have a point of reference and explain that this is the way we can portray it without having a budget in the billions!

And Devil's Advocate states it clearly! There is a limit to the authenticity and a good reenactor will talk about those things. This guy who wrote the article must be absolute hell on reenacted battles! Like where does he find the guys to lie wounded and then burn to death when the brush catches fire and they can't move? Might be a job he'd take on himself.

But there is an element of humor there you know? I particularly liked this statement:

"Folk musicians were not historians; they were out to make money, and anyone involved in history knows you can't make money in this gig."

What is that? First, only a few get very rich in "folk music" OR history, and this guy seems to be saying that he who makes less is the most truthful. On that basis, I am now going to take all my queries about everything to the wino living in the Amana box behind the Deli.

Spaw

Subject: RE: BS: Opinionated Civil War Music Article
From: GUEST,Pete Peterson
Date: 09 Mar 01 - 09:42 AM

Subject: RE: BS: Opinionated Civil War Music Article
From: JedMarum
Date: 09 Mar 01 - 09:33 AM

Thanks for posting the article, Kat. Good comments here too, and I guess I don't have much to add. I have been an invited, paid performer to several Civil War memorial events; with and without sound systems. No one has ever asked me to dress in period, play only period music, on period instruments, using someone's best guess at period style. They knew that I sing modern versions of some old folk period folk songs, and some new songs based upon the history of the era. These same groups invited historians, authors to speak - none of whom made any attempt at period style in their dress or presentation. I have always felt welcome and appreciated by those at these events, and never felt a moment of guilt over my lack of 'authenticity.'

Perhaps, Mr Isaacson's complaint is aimed at those who do try to emulate the period, and do so without much concern for detail.

Subject: RE: BS: Opinionated Civil War Music Article
From: katlaughing
Date: 09 Mar 01 - 09:21 AM

Thank you all for confirming my suspicions. A lot of what the author said just didn't jibe with what I have read here. This is a very interesting discussion thanks to everyone of you.

Dan, just got it, yesterday and I LOVE, esp, Billy the Kid and Portland County Jail, as well as Scovill's Rolling Mill. Your comments and additional background are very much appreciated.

kat

Subject: RE: BS: Opinionated Civil War Music Article
From: Troll
Date: 09 Mar 01 - 09:03 AM

The "authentics" were the reason I got out of reenacting. When I was told I had to take the side buttons off my kepi because the men who fought that battle didn't wear them, that was it. The "authenticity police'" reason was that none had ever been dug up on the site, never mind that the kepi (cap) with side buttons was a standard item of wear for soldiers on both sides.
I could go on but you get the idea.
Anal-retentive has a hyphen, right?

troll

Subject: RE: BS: Opinionated Civil War Music Article
From: LR Mole
Date: 09 Mar 01 - 09:00 AM

Well. What with Easter coming up, I'd assume the sheep-intestine string market would be booming, but then that would be evidence that a banjo (ladies' instrument that it was) would be about. Such goings-on could alert the Tremelo Police: herb-gatherin' wussies singing over here.. Next someone will tell me that Elvis never,himself, visited the Heartbreak Hotel, or even knew Big Mama Thornton. Difficult enough to be authentically oneself, I find...

Subject: RE: BS: Opinionated Civil War Music Article
From: GUEST,Devil's Avocat
Date: 09 Mar 01 - 08:39 AM

The author of the article, in addition to being rude, needs to get a life. I've been both a reinactor (18th & 19th C.) and the director of institutions that hosted reinactments. These time-transvestites tend to take themselves entirely too seriously, and the bottom line is that these "re-created events" NEVER repeat NEVER even approach an accurate historical depiction of the period or event portrayed. Nor is it reasonable to expect they would.

Period materials are simply unavailable; yes, they can be approximated, but not cloned.The vast majority of "period reproductions" sold to reinactors are pure crap. People do not talk with appropriate accents/diction of one or two centuries ago. People are entirely too well-fed and healthy looking. Seen any reinactors witl smallpox scars lately? When walking through one of these "encampments", where is the stench and the filth? Do they smell like they haven't bathed for a month? What about the pit privies & the victims of camp diseases lying in their own vomit and excrement? What about those with wounds and amputations with pus-soaked, stinking bandages and suppurating sores in an era before antiseptics? What about the carnage of real warfare- how is a cowboys-and-indians "lawn war" supposed to accurately depict this? Get real. Someone who plays soldier [or camp follower or farmer or whatever] on weekends cannot hope to depict a mid-19th century (or other historical period) infantryman who LIVED the life of a soldier for years in the field. And so on. Some individuals do a better job of apeing the dress, customs, etc. of the period they supposedly represent, but none are at bottom truly accurate.

Despite all the hand-wringing and protestations of "Historical Accuracy", at the end of the day reinactments and reinactors are theme-park theater entertainment for the TV generation- not history. You want history, read a book, or visit a good museum or historic site exhibit- don't watch the video. Honest reinactors will tell you the same.

Subject: RE: BS: Opinionated Civil War Music Article
From: Sorcha
Date: 09 Mar 01 - 02:04 AM

As an Only Sometimes re enactor I must agree with both kimmers and banjer. The tone of the article was rude, but we do what we can with what we have to work with.

When we do an "Absolutely Period" gig, we dress in period and we play tunes from the Period, but our instruments are Our Own......complete with shoulder rests etc. We do hide the cases, electronic tuners and stuff like that, and we do not do stuff like "Run Nigger Run" even if it is Period. There is plenty of stuff that is acceptable without being nasty about it.......

If you leave out the "tone" I do agree with the article.

Subject: RE: BS: Opinionated Civil War Music Article
From: Liam's Brother
Date: 09 Mar 01 - 01:54 AM

No case, kat, could be made for this article being unopinionated.

Theatrics aside, the simple matter is that reenactors and folksingers revere different pictures of perfection. History is not art and art is not history (unless, of course, we're talking about Art History). I understand a copy of Folk-Legacy's latest CD, Irish in America" is winging it's way to you, so this is timely. There are 2 Civil war songs on "Irish in America." Before recording them, I had a conscious choice to make whether to perform them circa 1861-1865 or as of some other (later) date. I chose the latter for a few reasons.

First, the period text of the recruiting song "The Irish Volunteer" had a word, revere that was used repeatedly as a rhyme. I changed the phrase "Here's to brave McClellan whom the Army now reveres" to "Here's to brave McClellan whom the Army now does steer." I believe I improved the song without changing the meaning and I believe that, if the late lyricist was still treading this green earth, he would agree with me.

Second is the case of "Pat Murphy of Meagher's Brigade." The song exists both as a period piece and as a traditional song. The folk song, which my wife, Bonnie, and I sing, is succinct, heart-wrenching and uplifting. The orginal is, simply, dated.

I don't mean any of the above to say that there is something wrong with the "warts an' all" approach of repeating the original verbatim. Quite the contrary, I want to know what the original was like and I believe that there is a great danger in taking too much liberty with history... but art is art.

All the best,
Dan Milner

Subject: RE: BS: Opinionated Civil War Music Article
From: Banjer
Date: 09 Mar 01 - 01:48 AM

SPeaking as a reenactor I pretty much agree with Kimmers, above. Most reenactors cannot afford (nor would they want to risk damage in the field) true period instruments. We must adapt a bit to what is available. I take my banjo (nylon strung), and dulcimer to many events. Most of our playing is done after the camps are closed to the public. There have been occasions when we have been sitting around playing our instruments and spectators have asked the usual barrage of questions;
'Is that a real dulcimer?'
'Was that banjo around during the civil war?'

We usually cover a multitude of questions with a few simple answers.,
'Yes, it's a real dulcimer, no it probably would not have been found in a period camp.' 'Yes, the music we play is a close to period as we can produce it'
We take the time to explain the differences between the music of the period and that which groups such as Time-Life attempt to pass off as authentic. I feel we give the spectator enough knowledge that if they are truly interested they will go and research more on their own.

Subject: RE: BS: Opinionated Civil War Music Article
From: kimmers
Date: 09 Mar 01 - 01:23 AM

Kat, I'm a fairly new re-enactor, but here goes.

I'm familiar with the Watchdog; it professes to be the Bible of the "Hard-Core" (Authenticity is Everything) re-enactor. To be fair, sometimes one can find some great helpful information in its pages.

Most of the facts in this article have the ring of accuracy, and the author has apparently researched the subject matter well. That said, the *tone* of the article is inexcusably rude (and rather poorly written). I help to edit the newsletter for our company (116th Pennsylvania Company "B") and I recently rejected an article about civilian clothing just because it was rude in a similar way. Reading this sort of things makes people mad, unless they are the very few who can come up to the standard.

None of the musicians I have met or heard at reenactments would come up to these standards, yet most are enjoyable. I don't expect musicians who are guests or hired for a reenactment to be totally authentic; I do expect them to provide atmosphere and feeling.

I don't yet own an authentic looking guitar, so I only bring mine out in the evening after the public has gone. If people seem receptive, then I play for a while. If not, I put it away. I try not to play or sing non-period songs, but I don't mind when others do so.

Amplification? I don't have a problem with it for large events where the public expects a show. For small gatherings, it's inappropriate.

kimmers

Subject: Opinionated Civil War Music Article
From: katlaughing
Date: 09 Mar 01 - 12:55 AM

Some of this seemed pretty harsh to me, in just scanning it, and I was wondering how some of you, who do the reenactments, feel about what this person has to say. Thanks, kat

How Authentic Should Period Music Be?

The following comments, written by period music researcher Jon Isaacson, have been excerpted from The Watchdog (vol. 1, no. 4, and vol. 3, no. 2) , a publication dedicated to helping War Between the States reenactors perfect their period impressions. (Subscriptions to The Watchdog can be obtained by writing to PO Box 4582, Frankfort, KY 40604-4582.) Although intended primarily for living history interpreters and event sponsors, Isaacson's views may be of use to listeners who wish to acquire recordings that adhere to certain strict, occasionally exacting standards of authenticity.

What To Look for in a Period-Correct Performer

Perhaps the greatest obstacles the quality-minded living history enthusiast will encounter when dealing with music of the period are the myths which have been perpetuated primarily by folk musicians. For the most part, these groups and individuals came into prominence during the folk music revolution of the 1960s, when performers such as Burl Ives, Pete Seeger, The New Christy Minstrels, Tennessee Ernie Ford, the Smothers Brothers, and a plethora of others brought back to public memory music from the "olden days." This music genre usually carries the moniker "old-timey," and to these performers the beauty of everything "folk," whether it be tales, art, or music, is supposed to be the fact that it was orally transmitted, to be taken at face value or without question. Whether amateur or professional, living history interpreters should never under any circumstances allow this to suffice as "research" on any topic. Folk musicians were not historians; they were out to make money, and anyone involved in history knows you can't make money in this gig. They cared not for accuracy, documentation, research, or context, and thousands of their devotees followed avidly. Unfortunately, there are still many, many of these devotees, and many are involved in reenacting. True historians must learn to deal cautiously with these "folkies," or avoid them altogether. Here are some warning signs to look for. Bad personal impressions.--Contrary to the old saying, you CAN judge a book by its cover. Typically, any musician who has a bad impression quite likely has not done research on the music he or she is performing either. These individuals may be quite talented, but they are mere pirates preying upon the reenacting public. They don funny clothes to get an invitation to events, and unwitting event sponsors are duped into hiring them. These bad impressions range from women wearing uniform items, to poorly constructed clothing, to modern eyeglasses.

Modern amplification devices

Groups or individuals using modern amplification devices are nefarious to say the least. Not only is it unjustified on historical grounds, it is also quite annoying to the ambience of an event. Nothing can be more irritating than to be taking a nap in a campaign style camp, when a loud B-Z-Z-Z-Z-A-A-A-A-P crackles through the air as the band "powers up" for their performance. The only thing worse is being in the same camp when the shrill sound of feedback rips through the air...or was that a 10 pound Parrott shell?? Presumably, if they can't "out-authenticity" others, they are determined to "out-volume" them with their gear.

Modern (or more modern) instruments

If the instruments look like they came from the local music store, you can pretty much bet they did. Obvious giveaways are plastic mountings and hardware, but there are more subtle differences between period instruments and modern. Among these are steel strings, elaborate pearl inlay work, plastic drum and banjo heads, to name but a few. Large "Gene Autry: or "Western Style" guitars, Marine Band harmonicas, mandolins, dulcimers, high school band instruments, and bagpipes should be left at home as well.

Use of the word "traditional" on tapes or in ads

The word traditional implies, "Well, it's always been done that way, so it must be right." The learned know that this type of mentality spells disaster with a capital "D." When combined with the word "Appalachian," drop the tape and run away quickly. The bluegrass music so popular at some reenactments has its roots in the 1930s -- it may be "traditional," but it ain't traditional to the 1860s.

Use of non-accurate songs

This one will take some work to be proficient at spotting. Ask around or spend some time in libraries to seek out the dates of many of these pieces of work. You might be surprised at what "old favorites" are actually post-war songs. Examples include "I'm a Good Ol' Rebel," "Cripple Creek," "Old Joe Clark," and "Ashokan Farewell." Mark these and know them well, but, more importantly, don't indulge in them at Civil War events.

Use of Hillbilly Descriptive Words

Surely the reader has seen these words used to describe a tape or a band, "Have a knee-slappin', hog-chasin', rip-roarin', foot-stompin', rootin'-tootin' good time with this band." Usually the performer has a big safety pin in his hat, too, right? This is not to say that a group which uses lively, festive wording for their ads is not accurate, but the red flag should go up when seeing this type of corny language. As mentioned above, the popularity of "hillbilly" or "Appalachian" music dates from the 1930s, not the 1860s.

Documentation.--The bane of the charlatan.

The next time you see one of these folks, ask them what sources they use to do their research. More likely than not, they will not be able to answer -- or will mumble something about being graced from above -- or will claim to be obscenely talented, or something along that line. Talent does not equal research.

The sound of performers' voices

Vocals as performed by males in the 1800s should be a "booming" (not necessarily "deep") resonant voice with lots of projection. Falsetto should be reserved for operatic pieces, and the high-pitched (from the throat) bluegrass/folk singing voices are wrong (Bill Monroe impersonators be-no-more). The soft "quivering" (Tremolo) voice exemplified by Peter, Paul, and Mary is also incorrect for the period -- leave those for the herb-gathering 60s burn-out street musician.

Notes on Period-Correct Instruments

While some instruments have changed very little in the last 150 years, others have been very dynamic in their evolution. Just as it would be totally inappropriate to use a British Mark III Lee-Enfield bolt action rifle at a Civil War event, so too would it be inappropriate to use a Gibson banjo with steel strings circa 1935. There is absolutely no difference in the comparisons. Steel strings were not used in the time period we portray; instruments were strung with catgut (sheep intestines) which, truthfully, are extremely difficult to find today. Instruments strung with catgut are the best option, but another option for those short of cash is the nylon classical guitar strings. These sound extraordinarily like gut string and although they are not "authentic looking," they are closer than steel strings. In speaking of stringed instruments as used today, there are three "problem children," which should be avoided by reenactors. These are guitars, dulcimers, and mandolins. Although all three instruments existed in some form during the time we portray, they are not suitable for most living history encampments. The dulcimer, although popularly believed to have its origins in the Appalachian Mountain region early in the 19th Century, was really popularized much later. During the 19th Century, the dulcimer looked nothing like the so-called "mountain" or "hammered" dulcimers popularized during the 1960s folk revolution. In addition, their use in the mid-19th century seems to be confined to very small areas of Pennsylvania, and even old Appalachian musicians will tell you they didn't know about dulcimers until the early 20th century. The dulcimer was considered to be a "feminine" instrument, certainly not an instrument to be found commonly in military camps being played by men.

The 19th century guitar, smaller than modern guitars, was used primarily as a parlor instrument. Some references can be found, and, indeed, some photos exist, showing Civil War soldiers playing guitars, but care must be taken that the instrument is played in Civil War period style, not strummed like Gene Autry. For a good period reference to 19th century guitar playing styles, check the guitar arrangements that Stephen Foster wrote for his songs. Finally, mandolins did not become popular until the large influx of Italian immigrants later in the 19th century. Excellent discussions of these instruments are available in scholarly works on popular music in the antebellum/Civil War period.

Isaacson's Recommendations If you're looking for musicians to play at a period event or just interested in hearing how your favorite song would have sounded 130 years ago, try the following:

Amoskeag Players

c/o Bob Kilham 3 Appletree Road Auburn, NH 03032 [phone] [tapes, bookings]

This New Hampshire-based group is directed by Robert Kilham, who also reproduces 1840s fretless banjos (all banjos until the late 1860s were fretless). The Amoskeag Players perform music from the antebellum and Civil War years, and their repertoire includes music from minstrel shows, New England sea chanteys, patriotic music, and popular music. Their ensemble is composed of instruments that are correct for the period portrayed, and Mr. kilham is able to play an endless variety of instruments...For live performance, this is a first rate group.

Saxton's Cornet Band

406 Mark Avenue Danville, KY 40422 [phone] [tapes, bookings]

This is the creme de la creme of brass bands in this modern age. Saxton's Cornet band gives top quality performances whether on the battlefield or in the ballroom. The members are all professional musicians whose personal impressions and instruments are prime quality.

Tuckahoe Social Orchestra

c/o Joe Ayers Box 146 Bremo Bluff, VA [phone] [tapes, bookings, banjo manual reprints]

Joe Ayers and his Virginia-based group (primarily composed of his family) is perhaps most famous for doing much of the soundtrack for the 125th Anniversary of Gettysburg video. This group incorporates banjos, violins, tambourines, flutes, accordions, and a plethora of other instruments documentable to period performance practice...For string bands, the Tuckahoe Social Orchestra is top notch.

Stonewall Brigade Band

c/o Gary Funk, President 2391 Highview Circle Staunton, VA 24401

A continuation of General Stonewall Jackson's original brigade band, the modern-day band still has the group's original instruments, which General Grant allowed them to keep when they were paroled at Appomattox.

Civil War Music Collectors Edition

This selection from Time-Life Books has proven to be a landmark set for the individual seeking a wide variety of entertainment. Except for a few selections by John Hartford...that are historically off base, most of the selections have been researched and performed in a fairly authentic fashion. For just plain all around entertainment, this set can't be beat.

Heritage Americana

Pictorial Histories Publishing Co., Inc. 713 South Third Street West Missoula, MT 59801 [phone] [tapes, CDs]

One fad in the 1960s was to reproduce Civil War brass band music using professional musicians with original arrangements and instruments. Regardless of why this fad occurred, it has been to our benefit, because the recordings of Heritage Americana set high standards for accurately reproducing Civil War era brass band music. Recordings are still available.

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Thanks to Lee Canaday of Russellville, Alabama, for sending us the Watchdog articles from which the information presented above was taken.