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War on the Home Front: Battle Pieces for the Piano from the American Civil War

Published online by Cambridge University Press:  10 November 2015

ELIZABETH MORGAN
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Abstract

During the Civil War, countless musical works were written about the conflict and marketed to amateur musicians, especially women. Among them were pieces composed in response to recent conflicts, often published within days or weeks of the relevant event. Popular genres included keyboard battle pieces, which depicted some of the most pivotal battles of the war in musical rhetoric, bringing them alive in the minds and imaginations of drawing room performers and audiences.

This essay is the first detailed study of American keyboard battle pieces from the Civil War. It investigates how they mirror many aspects of Civil War life, including the civilian demand for vivid war news, especially eyewitness accounts from the front, the advent of telegraphic reporting, and the fallibility of the media in reporting on the war. The pieces also reflect cultural trends of the mid-nineteenth century not related to war, particularly the popularity of theatrical melodrama on the stage and the prominence of virtuosity in piano repertoire. In investigating the performance of battle pieces as a site where women imagined and experienced the perils of war, this article contributes to scholarship that deepens our understanding of how women at home participated in mass culture.

Type
Research Article
Information
Journal of the Society for American Music , Volume 9 , Issue 4 , November 2015 , pp. 381 - 408
Copyright
Copyright © The Society for American Music 2015 

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References

References

Civil War Sheet Music Collection. Music Division. Library of Congress.Google Scholar
Joseph Franklin Culver Papers. Civil War Diaries and Letters. Special Collections. University of Iowa Libraries.Google Scholar
Keffer Collection of Sheet Music, ca. 1790–1895. Rare Book and Manuscript Library. University of Pennsylvania.Google Scholar
The Lester S. Levy Collection of Sheet Music. Special Collections. Sheridan Libraries. Johns Hopkins University.Google Scholar
Andrews, J. Cutler. The North Reports the Civil War. Pittsburgh: University of Pittsburgh Press, 1955.Google Scholar
Andrews, J. Cutler. The South Reports the Civil War. Princeton, NJ: Princeton University Press, 1970.Google Scholar
Bailey, Candace. Music and the Southern Belle. Carbondale: Southern Illinois University Press, 2010.Google Scholar
Bashford, Christina. “Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain.” Journal of the American Musicological Society 63, no. 2 (Summer 2010): 291–360.Google Scholar
Bolton, Betsy. Women, Nationalism and the Romantic Stage: Theatre and Politics in Britain, 1780–1800. Cambridge: Cambridge University Press, 2001.Google Scholar
Booth, Michael R. English Melodrama. London: Herbert Jenkins, 1965.Google Scholar
Bruhn, Christopher. “Taking the Private Public: Amateur Music-Making and the Musical Audience in 1860s New York.” American Music 21, no. 3 (Autumn 2003): 260–90.Google Scholar
Cazden, Norman, Haufrecht, Herbert, and Studer, Norman, eds. Folk Songs of the Catskills. Albany: State University of New York Press, 1982.Google Scholar
Clark, J. Bunker. The Dawning of American Keyboard Music. New York: Greenwood Press, 1988.Google Scholar
Collingwood, Robin G. The Idea of History. Edited by Dussen, Jan van der. Oxford: Clarendon Press, 1993. First published 1946.Google Scholar
Coopersmith, Andrew S. Fighting Words: An Illustrated History of Newspaper Accounts of the Civil War. New York: New Press, 2004.Google Scholar
Davis, William C., ed. The Images of War, 1861–1865. Garden City, NY: Doubleday, 1981–84.Google Scholar
Dee, Christine. “Feel the Bonds that Draw”: Images of the Civil War at the Western Reserve Historical Society. Kent, OH: Kent State University Press, 2011.Google Scholar
Diffley, Kathleen, ed. To Live and Die: Collected Stories of the Civil War, 1861–1876. Durham, NC: Duke University Press, 2002.Google Scholar
Diffley, Kathleen. Where My Heart Is Turning Ever: Civil War Stories and Constitutional Reform, 1861–1876. Athens: University of Georgia Press, 1992.Google Scholar
Fahs, Alice. The Imagined Civil War: Popular Literature of the North and South, 1861–1865. Chapel Hill: University of North Carolina Press, 2001.Google Scholar
Fowler, Ellen Thorneycroft. Cupid's Garden. London: Cassell, 1897.Google Scholar
Gibbons, William. “Yankee Doodle and Nationalism, 1780–1920.” American Music 26, no. 2 (Summer 2008): 246–74.Google Scholar
Gillespie, J. “Charles Grobe: the Bard of Wilmington.” Delaware History 21, no. 1 (Spring/Summer 1984): 22–30.Google Scholar
Gooley, Dana. “Liszt and his Audiences.” Ph.D. dissertation, Princeton University, 1999.Google Scholar
Harris, Brayton. Blue & Gray in Black & White: Newspapers in the Civil War. Washington, D.C.: Brassey's, 1999.Google Scholar
Hennig, Julia Almira. “Battle Pieces for the Pianoforte Composed and Published in the United States between 1795 and 1820.” D.M.A. document, Boston University, 1968.Google Scholar
Hibberd, Sarah, ed. Melodramatic Voices: Understanding Music Drama. Ashgate Interdisciplinary Studies in Opera. Farnham, UK: Ashgate, 2011.Google Scholar
Huneker, James. Overtones; A Book of Temperaments: Richard Strauss, Parsifal, Verdi, Balzac, Flaubert, Nietzsche, and Turgénieff. New York: C. Scribner's Sons, 1904.Google Scholar
Kane, Jr., Arthur, M. “The Piano Music of Charles Grobe.” M.M. thesis, Ohio University, 1973.Google Scholar
Kelley, Bruce C. and Snell, Mark A., eds. Bugle Resounding: Music and Musicians of the Civil War Era. Columbia: University of Missouri Press, 2004.Google Scholar
Kimber, Marian Wilson. “In a Woman's Voice: Musical Recitation and the Feminization of American Melodrama.” In Melodramatic Voices: Understanding Music Drama. ed. Hibberd, Sarah, 61–82. Farnham, UK: Ashgate, 2011.Google Scholar
Kirk, Elise K. “Sheet Music Related to the United States War with Mexico (1846–1848) in the Jenkins Garrett Library, University of Texas at Arlington.” Notes: The Quarterly Journal of the Music Library Association 2nd. ser., 37, no. 1 (September 1980): 14–33.Google Scholar
Koza, Julia Eklund. “Music and the Feminine Sphere: Images of Women as Musicians in ‘Godey's Lady's Book,’ 1830–1877.” Musical Quarterly 75, no. 2 (Summer 1991): 103–29.Google Scholar
Lee, Anthony W. and Young, Elizabeth. On Alexander Gardner's Photographic Sketch Book of the Civil War. Berkeley: University of California Press, 2007.Google Scholar
McHatton, Eliza Moore Chinn. Social Life in Old New Orleans, Being Recollections of My Girlhood. New York: D. Appleton, 1912.Google Scholar
McWhirter, Christian. Battle Hymns: The Power and Popularity of Music in the Civil War. Chapel Hill: University of North Carolina Press, 2012.Google Scholar
Miller, Tice L. Entertaining the Nation: American Drama in the Eighteenth and Nineteenth Centuries. Carbondale: Southern Illinois University Press, 2007.Google Scholar
Morgan, Elizabeth. “The Virtuous Virtuosa: Women at the Pianoforte in England, 1780–1820.” Ph.D. dissertation, University of California, Los Angeles, 2009.Google Scholar
Myers, John C. Daily Journal of the 192d Reg't Penn's Volunteers, Commanded by Col. William B. Thomas. Philadelphia: Crissy & Markley, 1864.Google Scholar
Nickles, David P. Under the Wire: How the Telegraph Changed Diplomacy. Cambridge, MA: Harvard University Press, 2003.Google Scholar
O’Connell, Deirdre. The Ballad of Blind Tom. Woodstock, NY: Overlook Press, 2009.Google Scholar
Parke, W. T.Musical Memoirs. London: Henry Colburn and Richard Bentley, 1830.Google Scholar
Pisani, Michael. Music for the Melodramatic Theatre in Nineteenth-Century London and New York. Iowa City: University of Iowa Press, 2014.Google Scholar
Richards, Eliza. “US Civil War Print Culture and Popular Imagination.” American Literary History 17, no. 2 (Summer 2005): 349–59.Google Scholar
Risley, Ford. Civil War Journalism. Westport, CT: Praeger, 2012.Google Scholar
Ritchie, Leslie. Women Writing Music in Late Eighteenth-Century England. Burlington, VT: Ashgate, 2008.Google Scholar
Sachsman, David. Words at War: The Civil War and American Journalism. West Lafayette, IN: Purdue University Press, 2008.Google Scholar
Scharf, John Thomas and Westcott, Thompson. History of Philadelphia: 1609–1884. Philadelphia: L. H. Everts, 1884.Google Scholar
Shadle, Douglas. “‘Fond of Music but Not a Musician: Dusenbery's Musical Life at the University of North Carolina.” In Verses and Fragments: The James L. Dusenbery Journal (1841–42). Ed. Lindemann, Erika. Documenting the American South (DocSouth). Chapel Hill: University Libraries, University of North Carolina, 2011, http://docsouth.unc.edu/dusenbery/.Google Scholar
Solie, Ruth A. Music in Other Words: Victorian Conversations. Berkeley: University of California Press, 2004.Google Scholar
Southall, Geneva. “Blind Tom: A Misrepresented and Neglected Composer-Pianist.” The Black Perspective in Music 3, no. 2 (May 1975): 141–59.Google Scholar
Southall, Geneva. Blind Tom, The Black Pianist-Composer: Continually Enslaved. Lanham, MD: Scarecrow Press, 2002.Google Scholar
Starr, Louis Morris. Bohemian Brigade: Civil War Newsmen in Action. Madison: University of Wisconsin Press, 1987.Google Scholar
Thackeray, William Makepeace. The Bedford–Row Conspiracy. 1840. Project Gutenberg Ebook, 2008. http://www.gutenberg.org/files/1990/1990-h/1990-h.htm.Google Scholar
Thackeray, William Makepeace. Vanity Fair. London: Thomas Nelson & Sons, 1906. First published 1847–48.Google Scholar
Tick, Judith. “‘Passed Away is the Piano Girl’: Changes in American Musical Life, 1870–1900.” In Women Making Music: The Western Art Tradition 1150–1950, ed. Bowers, Jane and Tick, Judith, 325–48. Urbana: University of Illinois, 1987.Google Scholar
Twain, Mark. Tom Sawyer and Huckleberry Finn. London: J. M. Dent, 1910. First published 1884.Google Scholar
Twain, Mark. A Tramp Abroad. In The Complete Works of Mark Twain. New York: Harper and Brothers, 1907. First published 1880.Google Scholar
Wallace, Elizabeth Ann. “The Effect of War on the Lives and Work of Piano Composers and the Evolution of Compositional Technique in War-Related Piano Pieces from 1849 through the Second World War.” Ph.D. dissertation, Texas Tech University, 1990.Google Scholar
Zeller, Bob. The Blue and Gray in Black and White: A History of Civil War Photography. Westport, CT: Praeger, 2005.Google Scholar
Beckel, James Cox. “Battle of Gettysburg.” Philadelphia: Winner, ca.1863.Google Scholar
Frank, M. H. “Burnside Expedition.” Philadelphia: Marsh, ca.1862,Google Scholar
Grobe, Charles. “Battle of Fort Donelson.” Boston: Henry Tolman, 1862.Google Scholar
Grobe, Charles. “Battle of Port Royal or the Bombardment of Forts Walker & Beauregard.” Boston: Oliver Ditson, 1861.Google Scholar
Grobe, Charles. “Battle of New Orleans.” Philadelphia: Lee & Walker, 1862.Google Scholar
Grobe, Charles. “Battle of Roanoke Island.” Boston: Oliver Ditson, ca.1862.Google Scholar
Grobe, Charles. “Battle of Shiloh or Pittsburgh Landing.” Boston: Oliver Ditson, 1862.Google Scholar
Grobe, Charles. “Pictures of the War.” Boston: Oliver Ditson, 1862.Google Scholar
Moelling, Theodore. “Battle of Richmond.” Cleveland, OH: S. Brainard & Co., ca. 1864.Google Scholar
Raff, Joseph. “Fall of Richmond.” New York: Horace Water, 1865.Google Scholar
Skedaddles. “Beauregard's Retreat from Shiloh.” Cincinnati, OH: A. C. Peters & Bro., 1862.Google Scholar
Skedaddles. “Floyd's Retreat from Fort Donelson.” Cincinnati, OH: A. C. Peters & Bro., 1862.Google Scholar
Skedaddles. “Price's Retreat from Corinth.” Cincinnati, OH: A. C. Peters & Bro., 1862.Google Scholar
Wiggins, Thomas Greene. “Battle of Manassas.” Cleveland, OH: S. Brainard & Co., 1866.Google Scholar
Skedaddles. “Beauregard's Retreat from Shiloh.” From Songs of the Civil War. Tony Randall (narrator), the Harmoneion Singers, and Lawrence Skrobacs (piano). Recorded Anthology of American Music. Liner notes by Charles Hamm. New York: New World Records, NW 202/80202, 1976, LP; 1992, CD.Google Scholar
Civil War Sheet Music Collection. Music Division. Library of Congress.Google Scholar
Joseph Franklin Culver Papers. Civil War Diaries and Letters. Special Collections. University of Iowa Libraries.Google Scholar
Keffer Collection of Sheet Music, ca. 1790–1895. Rare Book and Manuscript Library. University of Pennsylvania.Google Scholar
The Lester S. Levy Collection of Sheet Music. Special Collections. Sheridan Libraries. Johns Hopkins University.Google Scholar
Andrews, J. Cutler. The North Reports the Civil War. Pittsburgh: University of Pittsburgh Press, 1955.Google Scholar
Andrews, J. Cutler. The South Reports the Civil War. Princeton, NJ: Princeton University Press, 1970.Google Scholar
Bailey, Candace. Music and the Southern Belle. Carbondale: Southern Illinois University Press, 2010.Google Scholar
Bashford, Christina. “Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain.” Journal of the American Musicological Society 63, no. 2 (Summer 2010): 291–360.Google Scholar
Bolton, Betsy. Women, Nationalism and the Romantic Stage: Theatre and Politics in Britain, 1780–1800. Cambridge: Cambridge University Press, 2001.Google Scholar
Booth, Michael R. English Melodrama. London: Herbert Jenkins, 1965.Google Scholar
Bruhn, Christopher. “Taking the Private Public: Amateur Music-Making and the Musical Audience in 1860s New York.” American Music 21, no. 3 (Autumn 2003): 260–90.Google Scholar
Cazden, Norman, Haufrecht, Herbert, and Studer, Norman, eds. Folk Songs of the Catskills. Albany: State University of New York Press, 1982.Google Scholar
Clark, J. Bunker. The Dawning of American Keyboard Music. New York: Greenwood Press, 1988.Google Scholar
Collingwood, Robin G. The Idea of History. Edited by Dussen, Jan van der. Oxford: Clarendon Press, 1993. First published 1946.Google Scholar
Coopersmith, Andrew S. Fighting Words: An Illustrated History of Newspaper Accounts of the Civil War. New York: New Press, 2004.Google Scholar
Davis, William C., ed. The Images of War, 1861–1865. Garden City, NY: Doubleday, 1981–84.Google Scholar
Dee, Christine. “Feel the Bonds that Draw”: Images of the Civil War at the Western Reserve Historical Society. Kent, OH: Kent State University Press, 2011.Google Scholar
Diffley, Kathleen, ed. To Live and Die: Collected Stories of the Civil War, 1861–1876. Durham, NC: Duke University Press, 2002.Google Scholar
Diffley, Kathleen. Where My Heart Is Turning Ever: Civil War Stories and Constitutional Reform, 1861–1876. Athens: University of Georgia Press, 1992.Google Scholar
Fahs, Alice. The Imagined Civil War: Popular Literature of the North and South, 1861–1865. Chapel Hill: University of North Carolina Press, 2001.Google Scholar
Fowler, Ellen Thorneycroft. Cupid's Garden. London: Cassell, 1897.Google Scholar
Gibbons, William. “Yankee Doodle and Nationalism, 1780–1920.” American Music 26, no. 2 (Summer 2008): 246–74.Google Scholar
Gillespie, J. “Charles Grobe: the Bard of Wilmington.” Delaware History 21, no. 1 (Spring/Summer 1984): 22–30.Google Scholar
Gooley, Dana. “Liszt and his Audiences.” Ph.D. dissertation, Princeton University, 1999.Google Scholar
Harris, Brayton. Blue & Gray in Black & White: Newspapers in the Civil War. Washington, D.C.: Brassey's, 1999.Google Scholar
Hennig, Julia Almira. “Battle Pieces for the Pianoforte Composed and Published in the United States between 1795 and 1820.” D.M.A. document, Boston University, 1968.Google Scholar
Hibberd, Sarah, ed. Melodramatic Voices: Understanding Music Drama. Ashgate Interdisciplinary Studies in Opera. Farnham, UK: Ashgate, 2011.Google Scholar
Huneker, James. Overtones; A Book of Temperaments: Richard Strauss, Parsifal, Verdi, Balzac, Flaubert, Nietzsche, and Turgénieff. New York: C. Scribner's Sons, 1904.Google Scholar
Kane, Jr., Arthur, M. “The Piano Music of Charles Grobe.” M.M. thesis, Ohio University, 1973.Google Scholar
Kelley, Bruce C. and Snell, Mark A., eds. Bugle Resounding: Music and Musicians of the Civil War Era. Columbia: University of Missouri Press, 2004.Google Scholar
Kimber, Marian Wilson. “In a Woman's Voice: Musical Recitation and the Feminization of American Melodrama.” In Melodramatic Voices: Understanding Music Drama. ed. Hibberd, Sarah, 61–82. Farnham, UK: Ashgate, 2011.Google Scholar
Kirk, Elise K. “Sheet Music Related to the United States War with Mexico (1846–1848) in the Jenkins Garrett Library, University of Texas at Arlington.” Notes: The Quarterly Journal of the Music Library Association 2nd. ser., 37, no. 1 (September 1980): 14–33.Google Scholar
Koza, Julia Eklund. “Music and the Feminine Sphere: Images of Women as Musicians in ‘Godey's Lady's Book,’ 1830–1877.” Musical Quarterly 75, no. 2 (Summer 1991): 103–29.Google Scholar
Lee, Anthony W. and Young, Elizabeth. On Alexander Gardner's Photographic Sketch Book of the Civil War. Berkeley: University of California Press, 2007.Google Scholar
McHatton, Eliza Moore Chinn. Social Life in Old New Orleans, Being Recollections of My Girlhood. New York: D. Appleton, 1912.Google Scholar
McWhirter, Christian. Battle Hymns: The Power and Popularity of Music in the Civil War. Chapel Hill: University of North Carolina Press, 2012.Google Scholar
Miller, Tice L. Entertaining the Nation: American Drama in the Eighteenth and Nineteenth Centuries. Carbondale: Southern Illinois University Press, 2007.Google Scholar
Morgan, Elizabeth. “The Virtuous Virtuosa: Women at the Pianoforte in England, 1780–1820.” Ph.D. dissertation, University of California, Los Angeles, 2009.Google Scholar
Myers, John C. Daily Journal of the 192d Reg't Penn's Volunteers, Commanded by Col. William B. Thomas. Philadelphia: Crissy & Markley, 1864.Google Scholar
Nickles, David P. Under the Wire: How the Telegraph Changed Diplomacy. Cambridge, MA: Harvard University Press, 2003.Google Scholar
O’Connell, Deirdre. The Ballad of Blind Tom. Woodstock, NY: Overlook Press, 2009.Google Scholar
Parke, W. T.Musical Memoirs. London: Henry Colburn and Richard Bentley, 1830.Google Scholar
Pisani, Michael. Music for the Melodramatic Theatre in Nineteenth-Century London and New York. Iowa City: University of Iowa Press, 2014.Google Scholar
Richards, Eliza. “US Civil War Print Culture and Popular Imagination.” American Literary History 17, no. 2 (Summer 2005): 349–59.Google Scholar
Risley, Ford. Civil War Journalism. Westport, CT: Praeger, 2012.Google Scholar
Ritchie, Leslie. Women Writing Music in Late Eighteenth-Century England. Burlington, VT: Ashgate, 2008.Google Scholar
Sachsman, David. Words at War: The Civil War and American Journalism. West Lafayette, IN: Purdue University Press, 2008.Google Scholar
Scharf, John Thomas and Westcott, Thompson. History of Philadelphia: 1609–1884. Philadelphia: L. H. Everts, 1884.Google Scholar
Shadle, Douglas. “‘Fond of Music but Not a Musician: Dusenbery's Musical Life at the University of North Carolina.” In Verses and Fragments: The James L. Dusenbery Journal (1841–42). Ed. Lindemann, Erika. Documenting the American South (DocSouth). Chapel Hill: University Libraries, University of North Carolina, 2011, http://docsouth.unc.edu/dusenbery/.Google Scholar
Solie, Ruth A. Music in Other Words: Victorian Conversations. Berkeley: University of California Press, 2004.Google Scholar
Southall, Geneva. “Blind Tom: A Misrepresented and Neglected Composer-Pianist.” The Black Perspective in Music 3, no. 2 (May 1975): 141–59.Google Scholar
Southall, Geneva. Blind Tom, The Black Pianist-Composer: Continually Enslaved. Lanham, MD: Scarecrow Press, 2002.Google Scholar
Starr, Louis Morris. Bohemian Brigade: Civil War Newsmen in Action. Madison: University of Wisconsin Press, 1987.Google Scholar
Thackeray, William Makepeace. The Bedford–Row Conspiracy. 1840. Project Gutenberg Ebook, 2008. http://www.gutenberg.org/files/1990/1990-h/1990-h.htm.Google Scholar
Thackeray, William Makepeace. Vanity Fair. London: Thomas Nelson & Sons, 1906. First published 1847–48.Google Scholar
Tick, Judith. “‘Passed Away is the Piano Girl’: Changes in American Musical Life, 1870–1900.” In Women Making Music: The Western Art Tradition 1150–1950, ed. Bowers, Jane and Tick, Judith, 325–48. Urbana: University of Illinois, 1987.Google Scholar
Twain, Mark. Tom Sawyer and Huckleberry Finn. London: J. M. Dent, 1910. First published 1884.Google Scholar
Twain, Mark. A Tramp Abroad. In The Complete Works of Mark Twain. New York: Harper and Brothers, 1907. First published 1880.Google Scholar
Wallace, Elizabeth Ann. “The Effect of War on the Lives and Work of Piano Composers and the Evolution of Compositional Technique in War-Related Piano Pieces from 1849 through the Second World War.” Ph.D. dissertation, Texas Tech University, 1990.Google Scholar
Zeller, Bob. The Blue and Gray in Black and White: A History of Civil War Photography. Westport, CT: Praeger, 2005.Google Scholar
Beckel, James Cox. “Battle of Gettysburg.” Philadelphia: Winner, ca.1863.Google Scholar
Frank, M. H. “Burnside Expedition.” Philadelphia: Marsh, ca.1862,Google Scholar
Grobe, Charles. “Battle of Fort Donelson.” Boston: Henry Tolman, 1862.Google Scholar
Grobe, Charles. “Battle of Port Royal or the Bombardment of Forts Walker & Beauregard.” Boston: Oliver Ditson, 1861.Google Scholar
Grobe, Charles. “Battle of New Orleans.” Philadelphia: Lee & Walker, 1862.Google Scholar
Grobe, Charles. “Battle of Roanoke Island.” Boston: Oliver Ditson, ca.1862.Google Scholar
Grobe, Charles. “Battle of Shiloh or Pittsburgh Landing.” Boston: Oliver Ditson, 1862.Google Scholar
Grobe, Charles. “Pictures of the War.” Boston: Oliver Ditson, 1862.Google Scholar
Moelling, Theodore. “Battle of Richmond.” Cleveland, OH: S. Brainard & Co., ca. 1864.Google Scholar
Raff, Joseph. “Fall of Richmond.” New York: Horace Water, 1865.Google Scholar
Skedaddles. “Beauregard's Retreat from Shiloh.” Cincinnati, OH: A. C. Peters & Bro., 1862.Google Scholar
Skedaddles. “Floyd's Retreat from Fort Donelson.” Cincinnati, OH: A. C. Peters & Bro., 1862.Google Scholar
Skedaddles. “Price's Retreat from Corinth.” Cincinnati, OH: A. C. Peters & Bro., 1862.Google Scholar
Wiggins, Thomas Greene. “Battle of Manassas.” Cleveland, OH: S. Brainard & Co., 1866.Google Scholar
Skedaddles. “Beauregard's Retreat from Shiloh.” From Songs of the Civil War. Tony Randall (narrator), the Harmoneion Singers, and Lawrence Skrobacs (piano). Recorded Anthology of American Music. Liner notes by Charles Hamm. New York: New World Records, NW 202/80202, 1976, LP; 1992, CD.Google Scholar