The creation of the Confederate States of America and the subsequent Civil War inspired composers, lyricists, and music publishers in Southern and border states, and even in foreign countries, to support the new nation. Confederate-imprint sheet music articulated and encouraged Confederate nationalism, honored soldiers and military leaders, comforted family and friends, and provided diversion from the hardships of war. This is the first comprehensive history of the sheet music of the Confederacy. It covers works published before the war in Southern states that seceded from the Union, and those published during the war in Union occupied capitals, border and Northern states, and foreign countries. It is also the first work to examine the contribution of postwar Confederate-themed sheet music to the South's response to its defeat, to the creation and fostering of Lost Cause themes, and to the promotion of national reunion and reconciliation.

During the American Civil War, songs united and inspired people on both sides. The North had a well-established music publishing industry when the war broke out, but the South had no such industry. The importance of music as an expression of the South's beliefs was obvious; as one music publisher said, "The South must not only fight her own battles but sing her own songs and dance to music composed by her own children." Southern entrepreneurs quickly rose to the challenge. This reference book is distinguished by three major differences from previously published works. First, it lists sheet music that is no longer extant (and listed nowhere else). Second, it gives complete lyrics for all extant songs, a rich source for researchers. And third, a brief historical background has been provided for many of the songs. Each entry provides as much of the following as possible (staying faithful to the typography of each title page): the title as published, names of all lyricists, composers and publishers; dates of publication; cities of publication; and if applicable, the names of catalogs or magazines in which the song appeared. Music published in Southern cities under Federal occupation is excluded.

Discussions are designed to expand the music cataloger's understanding of publishing practices peculiar to sheet music. While much of the content emphasizes the description of the music, there are also sections devoted to subject access to illustrations, first-line/chorus/refrain text, illustrators, engravers, and publishers, and extensive reproductions of title pages from the 18th through mid-20th centuries, accompanied by examples of the cataloging, are also included.

"A very clear and forcefully argued treatment of the drive for cultural independence in the Confederacy. It is based on exhaustive study of periodicals, pamphlets, and all kinds of printed G matter produced during the Civil War. A most original and significant contribution to southern intellectual history and to the history of the Confederacy."---George C. Rable, author of Fredericksburg! Fredericksburg! "This carefully and exhaustively researched book brings into sharp focus the sheer number---and the sheer persistence ---of editors and educators who sought to create an intellectual culture in the South. Bernath's admirable study corrects anyone who thinks that wartime turmoil shut down the full-throated cry of antebellum Southern partisanship."---Steven Slowe, author of Doctoring the South: Southern Physicians and Everyday Medicine in the Mid-Nineteenth Century During Ihe Civil War, Confederates fought for much more than their political independence. They also fought to prove the distinctiveness of Ihe southern people and to legitimate their desire for a separate national existence through Ihe creation of a uniquely southern literature and culture. In this important new hook, Michael rlernalh follows the activities of a group of southern writers, thinkers, editors, publishers, educators, and ministers---whom he labels Confederate cultural nationalists---in order to trace the rise and fall of a cultural movement dedicated to liberating the South from its longtime dependence on northern hooks, periodicals, and teachers. This struggle for Confederate "intellectual independence" was seen as a vital part of the larger war effort. For southern nationalists, independence won on the battlefield would he meaningless as long as southerners remained in a stale of cultural "vassalage" to their enemy. Bernalh's exhaustive research into Confederate print literature reveals that Ihe war did not stop cultural life in Ihe South. Instead, wartime isolation sparked a tremendous literary outpouring, as southern writers and publishers rushed lo provide their new nation with its own native literature, one that surpassed in diversity and circulation anything before seen in the South. As the production of new Confederate periodicals, books, and textbooks accelerated at an astonishing rale and southerners look steps toward establishing their own native system of education, cultural nationalists believed they saw the Confederacy coalescing into a true nation. But it was not to be. In the end Confederates proved no more able to win their intellectual Independence than their political freedom, though they struggled mightily for both. By analyzing the motives driving the struggle for Confederate intellectual independence, by charting Its wartime accomplishments, and by assessing its failures, Bernath makes provocative arguments about the nature of Confederate nationalism, life within the Confederacy, and the perception of southern cultural distinctiveness.

Historians have long treated the patriotic anthems of the American Civil War as colorful, if largely insignificant, side notes. Beneath the surface of these songs, however, is a complex story. “Maryland, My Maryland” was one of the most popular Confederate songs during the American Civil War, yet its story is full of ironies that draw attention to the often painful and contradictory actions and beliefs that were both cause and effect of the war. Most telling of all, it was adopted as one of a handful of Southern anthems even though it celebrated a state that never joined the Confederacy. In Maryland, My Maryland: Music and Patriotism during the American Civil War James A. Davis illuminates the incongruities underlying this Civil War anthem and what they reveal about patriotism during the war. The geographic specificity of the song’s lyrics allowed the contest between regional and national loyalties to be fought on bandstands as well as battlefields and enabled “Maryland, My Maryland” to contribute to the shift in patriotic allegiance from a specific, localized, and material place to an ambiguous, inclusive, and imagined space. Musical patriotism, it turns out, was easy to perform but hard to define for Civil War–era Americans.