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In this meticulously researched anthology, Jerry Silverman uses the popular music of the World War I (1912-1919) to provide a thorough overview of the political and social milieu of the times as well as a sense of the futility of war. Extensive historical notes and period photographs enhance this collection of 59 songschosen for their musical value as much as for their historical significance. Silvernman writes, There were two parallel streams of songs being created during the course of 'the war to end all wars'-one by the soldiers 'over there' and theother by songwriters 'over here'. Tin Pan Alley titles include: It's a Long Way to Tipperary, 'Til the Boys Come Home (Keep the Home Fires Burning), I Don't Want to War, I Didn't Raise My Boy to Be a Soldier, I've Got the Army Blues, Hello Central-Give Me France, Over There, Oh! How to Get Up in the Morning,and How Ya Gonna Keep 'Em Down on the Farm; Tin Hat Alley tunes include: Diggin', Deep-Sea Blues, When I Lay Down, The Passing Pilot and Hinky Dinky, Parley-voo. Each song is shown in piano/vocal format with accompaniment chord symbols. Many of the soldiers' songs appear in print here for the first time
In this meticulously researched anthology, Jerry Silverman uses the popular music of the World War I (1912-1919) to provide a thorough overview of the political and social milieu of the times as well as a sense of the futility of war. Extensive historical notes and period photographs enhance this collection of 59 songs chosen for their musical value as much as for their historical significance. Silvernman writes, There were two parallel streams of songs being created during the course of 'the war to end all wars'-one by the soldiers 'over there' and the other by songwriters 'over here'. Tin Pan Alley titles include: It's a Long Way to Tipperary, 'Til the Boys Come Home (Keep the Home Fires Burning), I Don't Want to War, I Didn't Raise My Boy to Be a Soldier, I've Got the Army Blues, Hello Central-Give Me France, Over There, Oh! How to Get Up in the Morning, and How Ya Gonna Keep 'Em Down on the Farm; Tin Hat Alley tunes include: Diggin', Deep-Sea Blues, When I Lay Down, The Passing Pilot and Hinky Dinky, Parley-voo. Each song is shown in piano/vocal format with accompaniment chord symbols. Many of the soldiers' songs appear in print here for the first time.
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
A comprehensive and historically significant song collection, this massive volume captures the hopes and tragedy of the Civil War era. Songs are grouped into the following categories: The Union, The Confederacy, Lincoln, Universal Sentiments, Soldiers Songs, Battles, Negro Spirituals & Abolitionist Songs, The Lighter Side, and Post Bellum. A special feature of this text is the inclusion of authentic formal and informal portraits, plus depicting military encampment of the aftermath of the battle. Arranged for voice with piano accompaniment and guitar chords.
"Catalogs the patriotic sheet music of World War I. Introductory information describes how the music messages often paralleled Woodrow Wilson's policies. Data includes title, authors of the lyrics and music when available, value based on auction prices and collector knowledge, publisher, folio size and cover description. More than 400 photos of outstanding sheet music covers are included"--Provided by publisher.
In the preparation of these volumes there has been no attempt at completeness. The literature from which the materials are drawn is much too vast to be compressed into two little volumes like these. The aim has been simply to make the collection fairly representative in character, and to include in it those pieces relating to our several wars which best reflect the spirit of the times that produced them. The work of selection in such a case must always be difficult and the result more or less unsatisfactory. There are many reasons for this, some of which no one who has not undertaken a task of this kind can fully appreciate. There is no fixed standard of judgment by which to make a certainly just comparative estimate of the quality of several poems, some of which must be taken and the others left. Merit, in the case of war poems, is the composite result of so many different things that no criticism can hope to make an entirely satisfactory qualitative analysis of such literature. The poetic quality of some pieces entitles them to editorial acceptance, quite irrespective of other considerations, while there are other pieces having very little poetic quality, or none at all, whose claim to consideration on other grounds is incontestable. Mr. Stedman's "Wanted—A Man," Mr. William Winter's exquisitely tender poem "After All," Miss Osgood's "Driving Home the Cows," and Mr. George Parsons Lathrop's "Keenan's Charge," may serve as examples of pieces which no editor with the least capacity of poetic appreciation would hesitate to include in such a collection on the ground of merit even if their character were somewhat at variance, as in this case it is not, with the scheme of the collection. On the other hand there are such things as "Three Hundred Thousand More," several of the rude songs of the war of 1812, and many other pieces, which make equally imperative claims to favor on grounds that have no relation to the question of poetic merit. The song concerning the "Constitution and Guerrière," for example, is very nearly as destitute of poetic quality as metrical writing can be, and yet no editor of a collection like this would think of omitting a piece that had for so many years stirred the hearts of patriots and moved them to rejoice in the achievements of their country's heroes. The complex nature of the considerations that must determine the choice of poems for inclusion is but one of several difficulties encountered in the execution of such a task as this. In any event, many things must be omitted which merit insertion, and the reader who misses a favorite piece is prompt to point to others which seem to him less worthy, and to ask why these were not made to give place to the one omitted. There are three answers to be made to the challenge of such a reader: first, that his judgment in the matter may be wrong; second, that the editor, being human, may have erred in his choice; and third, that in a collection intended to be broadly representative rather than complete, preference must sometimes be given to the less worthy piece which happens to reflect some phase of sentiment not otherwise presented, even at the cost of sacrificing the worthier one which illustrates aspects otherwise sufficiently shown.