" Dixie ," also known as "bb> Dixie Land ," " I Want Me Is in Dixie ," and other titles, is a popular song in South America. It is one of the most distinctive southern musical products of the 19th century and perhaps the most famous song coming out of the blackstrings minstrelsy. It was not a folk song on its creation, but has since entered the vernacular of the American people. This song may cement the word "Dixie" in American vocabulary as a nickname for South South America.
Most Ohio-born credit source Daniel Decatur Emmett composes songs, though others have claimed credit, even during Emmett's time. The problem is Emmett's own confused account of his writing and his sluggishness in registering his copyright. The latest challenge has been made on behalf of the Snowden Family Band from Knox County, Ohio, who may have collaborated with Emmett to write "Dixie."
"Dixie" came from a minstrel blackface show in the 1850s and quickly became popular throughout the United States. During the American Civil War, it was adopted as the de facto national anthem of the Confederate States of America. New versions appeared at this time that more explicitly tied the song to Civil War events. Since the advent of the Civil Rights Movement, many have identified lyrics with iconography and ideology from the Old South.
In the early 1800s, it was customary for U.U. local banks spend their own money. Given the large French-speaking population in Louisiana, the ten-dollar bill from that area often has DIX (French for "ten") printed on them. People began to refer the bill as Dixies and to Louisiana as Dixie Land. Today, "Dixie" is sometimes considered offensive, and its critics claim that singing shows sympathy for slavery or racial oppression in South America. Its proponents, on the other hand, see it as a legitimate aspect of the culture and heritage of the South, and the struggle for the rights of the state and the freedom of the great government. The song is a favorite of President Abraham Lincoln; he has played it in several of his political parades and on the announcement of the surrender of General Robert E. Lee. The earliest recording of this song was performed by Billy Murray, in a duet with Ada Jones, in 1916.
Video Dixie (song)
Structure
"Dixie" is organized into five 2-step groups of alternating verses and restraint, following the AABC pattern. As it was originally done, a soloist or small group stepped forward and sang the verses, and the whole company answered at different times; repeated lines "turned away" may be a part sung simultaneously like this. When the song becomes popular, the audience may join the entourage in singing the chorus. Traditionally, the other eight steps of playing violin without a companion followed, coming to a near-half in the middle; since 1936, this section is rarely printed with sheet music.
The song is traditionally played with a slower pace than is usually played today. Rhythmically, music is "characterized by heavy, indifferent, uneven struts," and in a double meter, which makes it perfect for dancing and marching. "Dixie" uses a single rhythmic motif (two sixteenth entry papers followed by a longer tone), integrated into a long melodic phrase. Melody content mainly consists of the arpeggiations of the tonic triad, firmly building the main tone of voice. The chorus melodies emulate the natural inflection sound (especially in the word "away"), and may explain some of the popularity of the song.
According to music expert Hans Nathan, "Dixie" resembles other material that Dan Emmett wrote for Bryant's Minstrels, and, in composing it, the composer drew some of his earlier works. The first part of the song was anticipated by Emmett's other compositions, including "De Wild Goose-Nation" (1844), itself a derivative of "Gumbo Chaff" (1830s) and finally an 18th century English song called "Bow Wow Wow. "The second part may be related to older material, most likely Scottish folk songs. Chorus follows part of "Johnny Roach," a piece of Emmett from early 1859.
As with other blackface materials, the show "Dixie" is accompanied by dancing. This song is a walkaround, which originally started with some singers playing the lyrics, only to join the rest of the company (a dozen individuals for Bryants). As shown by the original music sheet (see below), the dance song used with "Dixie" by Bryant's Minstrels, which introduced the song on the stage of New York, was "Albany Beef," an Irish style reel later included by Dan Emmett. in an instructional book he co-authored in 1862. Dancers may perform among poems, and a single dancer uses a solo fiddle at the end of the song to "support, twist his wand, or whiskers, and perhaps cunningly wink at a girl in the front row. "
Maps Dixie (song)
Lyrics
Countless lyrical variants of "Dixie" exist, but the version associated with Dan Emmett and its variations is the most popular. Emmett's lyrics as originally meant to reflect the mood of the United States in the late 1850s toward the growing abolitionist sentiment. The song presented a point of view, commonly practiced at the time, that slavery was a positive whole. Slave hooks have been used in singer songs since the early 1850s, including Emmett's "I Is not Got Time to Tarry" and "Johnny Roach." The fact that "Dixie" and its predecessors are dance songs only further clarifies the subject. In short, "Dixie" makes this case, stronger than the previous song, the slave was included in slavery. This is achieved through the protagonist of the song, which, in a comic black dialect, implies that regardless of his freedom, he yearns for his birthplace.
The lyrics use many of the common phrases found in small songs of the day - "I wish I was at..." dates at least "Clare de Kitchen" (early 1830s), and "Down to the south in..." appears in more songs, including Emmett "I'm Gwine ober de Mountain" (1843). The second verse clearly echoes the "Gumbo Chaff" of the 1830s: "Den Missus he married Big Bill de weaver/Soon he knew he was a gay fraud." Last Stanza gave parts of Emmett's own "De Wild Goose-Nation": "De tarapin he's time for the trabble/He screw his tail and start scratching the grabble." Even the phrase "Dixie land" has been used in Emmett's "Johnny Roach" and "I Is not Got Time to Tarry," both first appeared earlier in 1859.
Like other minstrel materials, "Dixie" enters the general circulation among the blackface viewers, and many of them add their own verses or alter the songs in other ways. Emmett himself adopted a tone for the American-pseudo-African spirituality of the 1870s or 1880s. Chorus changed to:
The Union and Confederate Composers produced a war version of the song during the American Civil War. These variations standardize spelling and make songs more militant, replacing slave scenarios with special reference to conflict or pride of North or South. This Confederate Paragraph by Albert Pike is representative:
Bandingkan lirik Union Frances J. Crosby:
The second "unofficial" Union version is popular among Union forces, referred to as Union Dixie :
"The New Dixie!: The True 'Dixie' for Northern Singers" takes a different approach, playing the original song on his head:
Soldiers on both sides wrote an endless parody of the song. Often these things discuss the duality of camp life: "Pigs and cabbage in a pot,/It goes into the cold and comes out hot," or, "Vinegar uses red beets,/It makes them always suitable for eating." Others are more unreasonable: "Down to the South in cotton fields, Vinegar shoes, and paper stockings."
Aside from that given in standard English, the choir is the only part that is not regularly changed, even for parodies. The first verses and choruses, in non-dialect form, are the most famous part of the song today:
Composition and copyright
According to tradition, Ohio-born show composer Daniel Decatur Emmett wrote "Dixie" around 1859. During his lifetime, Emmett often tells the story of his composition, and the details vary with each account. For example, in various versions of the story, Emmett claims to have written "Dixie" in minutes, in one night, and for several days. The 1872 edition of The New York Clipper provides one of the earliest accounts, claiming that on Saturday night shortly after Emmett was taken as a songwriter for Bryant's Minstrels, Jerry Bryant told him that they would need a new walkaround on the day Next Monday. With this account, Emmett locked himself in his flat in New York and wrote the song on Sunday night.
More details appear in the next account. In one, Emmett claims that "Suddenly,... I jumped up and sat at the desk for work.In less than an hour I had the first verse and chorus, after which it was easy." In another version, Emmett stares at a rainy night and thinks, "I wish I were in Dixie." Then, "Like a glimpse, the thought suggests the first line of walking, and a little later the singer, playing in hand, working on the melody" (different story says that Emmett's wife said that famous phrase). Yet another variant, dated in 1903, further alters the details: "I stood by the window, staring at the dry, raw day, and the old circus feeling approaching me, I hummed for a long time," I wish I was at Dixie, "and inspiration came over me. I took my pen and within ten minutes had written the first stanza with music. The rest of the verse is easy. "In his final years, Emmett even claimed to have written the song for years before moving to New York." The Washington Post article supports this, giving the date of the composition of 1843.
Emmett published "Dixie" (under the title "I Wish I Was in Dixie's Land") on June 21, 1860 through Firth, Pond & amp; Co. in New York. The original text is gone; an extant copy was made during Emmett's retirement, beginning in the 1890s. Emmett's allowance of registering the copyright for the song allowed him to breed among other singing groups and various performers. Rival editions and variations are multiplied in songbooks, newspapers and broadside. The earliest of these are known today for the piano edition of John Church Company of Cincinnati, published on June 26, 1860. Other publishers link composers made with songs: "Jerry Blossom" and "Dixie, Jr.," between another. The most serious challenge during Emmett's time came from the South, William Shakespeare Hays; the plaintiff sought to prove his allegations through the Southern historical society, but he died before they could produce conclusive proof. In 1908, four years after Emmett's death, no fewer than 37 people claimed the song as their own.
"Dixie" is the only Emmett song ever claimed to have been written in a burst of inspiration, and an analysis of Emmett's notes and writings shows "a meticulous copyist, who spends a lot of time collecting and composing songs and speeches for the introductory stage.".Ã,; Little evidence is left for the improvisation moment. "The New York Clipper wrote in 1872 that" Emmett's claim to write about 'Dixie' is still being debated, both within and outside the thug profession. "Emmett himself said," Show people- people in general, if not always, have the opportunity to hear every local song as they pass through different parts of the country, and especially with minstrel companies, who are always looking for songs and remarks that will answer their business. "He claims at one point to base the first part of" Dixie "on" Let Philander Let Be a Marchin, Every One for His True Love Search, "which he describes as" his childhood song. "The musical analysis did show some similarities in the line the melody but the singing is not closely linked Emmett also praised the "Dixie" with the old circus song.Although the disputed authorship, Firth, Pond & Co. paid Emmett $ 300 for all rights to "Dixie" on February 11, 1861, will be complications triggered by the impending Civil War.
The origins of the terms "Dixie" and "Dixieland"
Several theories exist concerning the origin of the term "Dixie". According to Robert LeRoy Ripley (founder of "Ripley's Believe It or Not"), "Dixieland" is a ranch on Long Island, New York owned by a man named John Dixie. He befriended many slaves before the Civil War that his place became a kind of paradise for them.
James H. Street says that "Johaan Dixie" was a Haarlem farmer (Manhattan Island) who decided that his slaves were not profitable because they were unemployed during the New York winter, so he sent them to Charleston where they were sold. Furthermore, the slaves were busy, yearning for a less heavily life at Haarlem farm; they would chant, "I really wish we were back on Dixie's ground."
The most popular theory states that the term comes from the Mason-Dixon line.
Popularity through Civil War
Bryant's Minstrels premiered "Dixie" in New York City on April 4, 1859, as part of their black singer show. It seems second to last on the bill, perhaps indicative of Bryants' lack of faith that the song could bring the end of the singer's performances. The walkaround was billed as "song and dance plantation." It was a successful success, and Bryants quickly made it their standard cover number.
"Dixie" quickly gained wide recognition and status as a minstrel standard, and it helped revive interest in plant material from other groups, especially in the third round. It became a favorite of Abraham Lincoln and was played during his campaign in 1860. The New York Clipper wrote that it was "one of the most popular compositions ever produced" and that it "has been sung, whistled, and played in every quarter of the globe. "Serenaders Buckley performed the song in London in the late 1860s, and by the end of the decade, he found his way into the repertoire of British sailors. When the American Civil War broke out, a New Yorker wrote,
Dixie "has become an institution, an institution unbearable in this part of the country... As a consequence, whenever" Dixie "is produced, pens fall from the sluggish fingers of employees, the glasses of the nose and paper from the hands of the merchant, the needle of the nimble number of maids or wardens, and all the hands limping, wriggling over time with the magical music of "Dixie."
The Rumsey and Newcomb Minstrels brought "Dixie" to New Orleans in March 1860; walkaround became a hit of their show. That April, Mrs. John Wood sings "Dixie" in a John Brougham mockery called Po-ca-hon-tas, or The Gentle Savage , increasing the popularity of the song in New Orleans. On the surface of "Dixie" it seems that candidates are unlikely to hit the South; he had a Northern composer, starring a black protagonist, intended as a dance song, and lacked any of the most patriotic criticisms of national singing and parades. Were it not for the atmosphere of sectionalism in which "Dixie" made its debut, it might have faded into obscurity. Nevertheless, refrain "In Dixie Land I will take my stance/To lib a die in Dixie", coupled with the first poem and an upbeat picture of the South, touching the tone. New Orleans Woods residents demanded no fewer than seven encore.
New Orleans publisher P. P. Werlein took advantage and published "Dixie" in New Orleans. He praised the music for J. C. Viereck and Newcomb for the lyrics. When the singer rejected the authorship, Werlein turned the credit into W. H. Peters. The Werlein version, subtitled "Sung by Mr John Wood," was the first "Dixie" to remove the fake black dialects and misspellings. Publications do not escape the attention, and Firth Pond & amp; Co threatened to sue. The dates on the music sheet of Werlein precede from Firth, Pond & amp; The Co version, but Emmett later recalled that Werlein had sent him a mailing offer to buy the $ 5 rights. At the convention of New York music publisher Firth, Pond & amp; Co manages to convince those in attendance that Emmett is a composer. In the upcoming edition of the Werlein setting, Viereck is only credited as "regulator." Whether ironic or sincere, Emmett dedicates a sequel called "I Come to Dixie" to Werlein in 1861.
"Dixie" quickly spread throughout the South, enjoying widespread popularity. By the end of 1860, separatists had adopted it as their own; on December 20, the band played "Dixie" after each vote for secession at St. Andrew's Hall in Charleston, South Carolina. On 18 February 1861, the song took something from the air of the national anthem when it was played at the inauguration of Jefferson Davis, arranged as a quick move by Herman Frank Arnold, and perhaps for the first time as a band arrangement. Emmett himself reportedly told fellow singers that year that "If I knew what good they would put my song on, I would be damned if I had written it."
In May 1861, Confederate Henry Hotze wrote:
This is amazing with what the wild fire speed of this song "Dixie" has spread throughout the South. Considered as an unbearable distraction when the first streets reverberate from the repertoire of wandering singers, it is now a fair offer to become a new musical symbol of the nation, and we would be lucky if it did not impose its name on our country.
The southerners who avoid the low origin of the song and the natural comedy alter the lyrics, usually to focus on Southern pride and war. Albert Pike greatly enjoyed his popularity; The Natchez (Mississippi) Courier published it on May 30, 1861 as "The War Song of Dixie," followed by Werlein, who again credits Viereck for composition. Henry Throop Stanton publishes another war-themed "Dixie", which he dedicated to "the Boys in Virginia". The challenging "In Dixie Land I will take/stand me To live and die in Dixie" is the only line used with consistency. Tempo is also accelerated, because the song is a useful quickstep song. Confederate Army generally prefer this war version with the lyrics of the original song. "Dixie" is probably the most popular song for Confederate soldiers in parades, in combat, and in camp.
The South man who united with the song proved reluctant to recognize Yankee as his composer. Thus, some regard the longer tradition as folk song. Poet John Hill Hewitt wrote in 1862 that "The ugly air of 'Dixie,' which is very doubtful... originally believed to originate from the noble stock of the Southern stevedore melodies."
Meanwhile, many Northern abolitionists are offended by the deprivation of the Southern "Dixie" because it was originally written as a satirical criticism of the institution of slavery in the South. Even before the fall of Fort Sumter, Frances J. Crosby published "Dixie for the Union" and "Dixie Unionized." This song is part of the repertoire of Union bands and general forces until 1863. Broadside circulated with titles such as "The Union 'Dixie'" or "The New Dixie, True 'Dixie' for Northern Singers." Northern "Dixies" disagreed with the Southern people regarding this institution of slavery and strife, at the center of the breakup and destruction of the American Civil War, played in American folk music culture through a dispute over the meaning of this song. Emmett himself arranged "Dixie" for the military in a marriage instruction book in 1862, and a 1904 work by Charles Burleigh Galbreath claimed that Emmett sanctioned officially on the lyrics of Union Crosby. At least 39 versions of the song, both vocal and instrumental, were published between 1860 and 1866.
The northerners, Emmett among them, also stated that the "Dixie Land" of the song was actually in the North. One common story, still quoted today, claims that Dixie was the owner of a Manhattan slave who sent his slave to the south just before New York in 1827 banned slavery. The stories have little influence; for most Americans, "Dixie" is identical to the South.
On April 10, 1865, one day after the surrender of General Robert E. Lee, Lincoln spoke to the White House crowd:
I propose to close by asking you to play certain music or songs. I think "Dixie" is one of the best songs I've ever heard... I've heard that our enemy on the street has been trying to fit it. I insisted yesterday that we had enough of him... I asked that question to the Attorney General, and he gave his opinion that it was our legitimate gift... I asked the Band to give us a good turn.
With that and other actions, Lincoln demonstrates his willingness to be peaceful to the South and restore the Union as soon as possible.
"Dixie" reconstructed
"Dixie" slowly re-entered the Northern repertoire, mostly in private performances. The residents of New York evoke the story of "Dixie" being part of Manhattan, so reclaim the song for themselves. The New York Weekly writes, "... no one has ever heard of another Dixie land from Manhattan Island until recently, when it has been mistakenly supposed to refer to the South, from its relationship to the sad negro allegory." In 1888 the Boston book publisher included "Dixie" as a "patriotic song," and in 1895 the Confederation Veterans Association suggested a celebration to honor "Dixie" and Emmett in Washington as a bipartisan homage. One planner notes that:
In this era of peace between these sections... thousands of people from every part of the United States will be very happy to unite with the former confederation in the proposed demonstration, and already some prominent people who are fighting on the Union enthusiastically support the implementation of the program. Dixie is as vivid and popular as it is today, and its reputation is not limited to the American continent... [W] here played by a big and powerful band, the auditors can not help keep time for music.
However, "Dixie" is still strongly associated with the South. Northern singers and writers often use it for parody or as a quote in other parts to form a person or a backdrop as the South. For example, African Americans Eubie Blake and Noble Sissle quoted "Dixie" in the song "Bandana Days" for their musical in 1921 Shuffle Along . In 1905, United Daughters of Confederacy conducted a campaign to recognize the official version of the song (which will remove it forever from its African-American association). Although they gained support from the United Confederate Veterans and Confederate Veterans Union Unions, Emmett's death the previous year changed sentiment towards the project, and the groups were ultimately unsuccessful in possession of one of 22 universally adopted entries. The song was played on the devotion of Confederate monuments such as the Confederate Private Monument at Centennial Park, Nashville, Tennessee, on June 19, 1909.
When African Americans enter cyberspace, they exploit the popularity of songs in the South by playing "Dixie" when they first arrive in a southern city. According to Tom Fletcher, a black singer at the time, he tended to please those who might be opposed to the arrival of a group of black men.
However, "Dixie" is not rejected in the North. An article in the New York Tribune , c. 1908, says that "although 'Dixie' came to be seen as a typical song from the South, the hearts of the North people have never been cold for it.Lord Lincoln loves it, and today is the most popular song in the country, regardless of part." At the end of 1934, The Etude's music journal stressed that "the inherent part of the sentiments of Dixie has long been forgotten, and today it is heard everywhere - North, East, South, West. "
"Dixie" has become Emmett's lasting legacy. In the 1900 census in Knox County, the Emmett occupation was awarded as "the author of Dixie." The band at Emmett's funeral plays "Dixie" as he is lowered to his grave. The marker of his grave, placed 20 years after his death, reads,
Whistling "Dixie"
The song adds a new term to the American lexicon: "Whistling 'Dixie'" is a slang expression meaning "[involved] in unrealistic realistic fantasies." For example, "Do not just sit there whistling 'Dixie'!" is a reprimand against inaction, and "You do not just whistle 'Dixie'!" shows that the intended person is serious about the problem at hand.
Modern Interpretation
Starting from the Civil Rights Movement in the 1950s and 1960s, African-Americans often challenged "Dixie" as a racist relic of the Confederation and reminded the decades of white domination and separation. This position was strengthened when white opponents for civil rights began to respond to songs like "We Shall Overcome" with an unofficial Confederate national anthem.
The earliest of these protests came from university students of the South, where "Dixie" was a staple of a number of marching bands. Similar protests have taken place at the University of Virginia, the Georgia Institute of Technology, and Tulane University. In 1968, the President of the University of Miami banned the song from the performance of his band.
The debate has since moved out of the student population. Members of the 75th United States Army Band protested "Dixie" in 1971. In 1989, three black Georgia senators came out when Miss Sweet Potato Queen sang "Dixie" in Georgia space. Meanwhile, many black music experts have challenged songs that allegedly came from racists. For example, Sam Dennison writes that "Today, the performance of 'Dixie' still raises the vision of an unconverted, stubborn South military, ready to reaffirm the advanced theory of white supremacy at all times.... This is why games 'Dixie' still causes a hostile reaction. "
On the other hand, for many southerners, "Dixie," like the Confederate flag, is a symbol of heritage and Southern identity. The southern schools maintain the battle song "Dixie", often coupled with Rebel's mascot and Confederate battle flag symbol, despite protests. The Confederate heritage website regularly displays the song, and Confederate relics groups routinely sing "Dixie" at their meetings. In his song "Dixie on My Mind," country musician Hank Williams, Jr., cites the absence of "Dixie" on North radio stations as an example of how North culture is so different from his counterparts in the South.
Others consider the song to be part of a patriotic American repertoire equivalent to "America the Beautiful" and "Yankee Doodle." For example, Supreme Court Justice William Rehnquist regularly included "Dixie" in his annual song for the 4th Court Conference in Virginia. However, his performance prompted some African American lawyers to avoid the event.
The campaign against "Dixie" and other Confederate symbols has helped create a sense of political exclusion and marginalization among working-class white people. Confederations of heritage and literary groups mushroomed in the late 1980s and early 1990s in response to criticism of the song. Journalist Clint Johnson calls modern opposition to "Dixie" "open, not-all-secret conspiracy" and an example of political correctness. Johnson claims that the modern version of the song is not racist and only confirms that Extras' family and traditions ". Other supporters, such as State Senator Glenn McConnell of South Carolina, have called efforts to suppress the genocide of the song culture.
Actors who choose to sing "Dixie" today usually remove black dialect and combine songs with other parts. For example, the jazz version of Rene Marie combines "Dixie" with "Strange Fruit", Billie Holiday's song about the death penalty without trial. Mickey Newbury's "An American Trilogy" (often performed by Elvis Presley) combines "Dixie" with the Union "Battle Hymn of Republic" and the spiritual negro "All My Trials." Bob Dylan also recorded a version of the song for the 2003 film Masked and Anonymous .
As an instrumental part, for many people "Dixie" means nothing but "South South America". This interpretation has been strengthened through the years of American popular culture. For example, a cartoon soundtrack that features Southern characters such as Foghorn Leghorn often plays "Dixie" to set the scene quickly. On the Dukes of Hazzard television series, which takes place in a fictional area in Georgia, the music horn of General Lee plays the initial twelve tones of the melody of the song. Sacks and Bags argue that such an apparently innocent association only serves to tie "Dixie" to its dark origins, because this comedy program, like a singer's show, "disrespectful, parodies, and dialects." On the other hand, Poole sees the horn of "Dixie", as used on "General Lee" from TV shows and imitated by southern White men, another example of the song's role as a symbol of "working-class rebellion."
However, in more serious tariffs, "Dixie" signaled "Southern." Dixie is sampled in a number of films from many American films, often to signify the Confederate and American Civil War troops. For example, Max Steiner quotes a song in the opening scene of his late 1930s score for Gone with the Wind as an instrumental nostalgia down-beat to set the scene and Ken Burns uses an instrumental version in his book. 1990 Civil War documentary.
In a widely publicized incident, Senator Jesse Helms reportedly offended Carol Moseley Braun, the first black woman in the Senate and only a black senator at the time, by whistling Dixie while in the elevator with him soon after the 1993 Senate election on the Confederate flag emblem.
In 1965 Jan & amp; Dean sang a song by "Whisling Dixie" on their album, Filet of Soul .
At Netflix's
The Charlie Daniels Band guitarist Bruce Ray Brown performs instrumental live with a slide guitar for the Freebird... The Movie soundtrack.
The official theme song of Ben Carson's song, "This Is America," references the leitmotif riff of the song as it leads out of its chorus.
Source of the article : Wikipedia
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