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By Bruce C. Kelley, Mark A. Snell

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Edu/). 34 BRUCE C. KELLEY NEW BEGINNINGS On October 13, 1861, after attending a black church service, Mary Boykin Chestnut wrote in her diary, “Suddenly, as I sat wondering what next, they broke out into one of the soul-stirring Negro campmeeting hymns. ” Over thirty years later, on May 25, 1893, the New York Herald would print the celebrated European composer Antonín Dvo˘rák’s praise for the folk music of African Americans: “These beautiful and varied themes are the product of the soil. They are American.

The increase in musical amateurs and the need to train musical novices for military roles led to the development of several pedagogical resources. Geary Larrick’s article “Drumming and Fifing of the Civil War” closely examines The Drummer’s and Fifer’s Guide by George Bruce and Daniel Emmett, which was published in 1865. He contends that “The Civil War marked a high point for the rudimental style of drumming in the United States. The Civil War was a mobile war: whole armies covered much ground on the march, fought their battles, and often retired in quick retreat.

New York: Norton, 1983); Charles H. Wesley and Patricia W. Romero, Negro Americans in the Civil War (New York: Publishers, 1967). 22 BRUCE C. KELLEY Dena Epstein’s Sinful Tunes and Spirituals: Black Folk Music to the Civil War examines secular and sacred black folk music from the Civil War era and documents the emergence of black folk music during the Civil War. This folk music was transmitted to American culture at large through such events as the Port Royal Experiment and the creation of black folk song compilations such as the Slave Songs of the United States (published in 1867).

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