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Opera and the Mainstreaming of Blackface Minstrelsy

Published online by Cambridge University Press:  17 July 2007

RENEE LAPP NORRIS
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Abstract

In the mid-nineteenth century, blackface minstrelsy entered the mainstream of antebellum popular culture by borrowing from a European musical repertory, drawing on the language of advertisements for legitimate entertainments, and engaging two themes of antebellum popular culture, sentimentality and nationalism. Minstrels' opera parodies used devices similar to the British burlesque tradition: opera in blackface relied on the recontextualization of the original and an unpredictable mingling of sources and subjects. Discussion of three popular blackface opera songs, “I Dreamed Dat I Libed in Hotel Halls,” “See! Sir, See!,” and “Stop Dat Knocking,” demonstrates these processes.

Type
Articles
Information
Journal of the Society for American Music , Volume 1 , Issue 3 , August 2007 , pp. 341 - 365
Copyright
© 2007 The Society for American Music

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Printed Music

Note: Unless otherwise indicated, all sheet music and songsters are from the Library of Congress.
Balfe Michael William. “I Dreamt I Dwelt in Marble Halls,” The Bohemian Girl. New York: Atwill, n.d.
Bellini Vincenzo. “As I View These Scenes So Charming, Sung with Great Applause by Mr. Brough, in Bellini's Celebrated Opera La Sonnambula.” Boston: C. Bradlee, n.d.
Bellini Vincenzo. “As I View These Scenes So Charming, Vi ravviso o luoghi amenir [sic]. Air in the Celebrated Opera La Sonnambula, Composed by Bellini.” Philadelphia: Fiot, Meignen & Co., n.d.
Bellini Vincenzo. La Sonnambula, with Italian and English Words. Boston: Oliver Ditson & Co., n.d.
Carter J. P. 1844. “Lucy Neal.” Boston: Keith's Publishing House,
1847. “I Dreamed Dat I Libed in Hotel Halls.” The Ethiopian Glee Book. Vol. 1. Boston: Elias Howe,
Myers J. R. 1844. “Songs of the Virginia Serenaders: Whar Did You Come From.” Boston: C. H. Keith, Lester S. Levy Collection of Sheet Music, http://levysheetmusic. mse.jhu.edu/otcgi/llscgi60.
1847. “Picayune Butler.” Baltimore: F. D. Bentenn, Lester S. Levy Collection of Sheet Music, http://levysheetmusic.mse.jhu.edu/otcgi/llscgi60.
1844. “Songs of the Congo Melodists: Lucy Neal.” Arranged by J. Buckley. New York: Firth & Hall,
1848. “Stop Dat Knocking,” Ethiopian Glee Book: Containing the Songs Sung by the Christy Minstrels. Vol. 2. Boston: Elias Howe,
“Whar Did You Cum From? Knock a Nigger Down. As Sung…by Mr. J. W. Sweeney.” New York: Firth and Hall, n.d. Lester S. Levy Collection of Sheet Music, http://levysheetmusic.mse.jhu.edu/otcgi/llscgi60.
Winnemore A. F. 1843. “Stop Dat Knocking at de Door. As Sung by the Virginia Minstrels.” Boston: G. P. Reed,
Winnemore A. F. 1847. “Stop Dat Knocking at My Door, as sung with great applause by Christy's Minstrels.” Boston: G. P. Reed,
Winnemore A. F. “Stop That Knocking at the Door.” New York: Richard A. Saalfield, n.d.
Winnemore A. F. “Stop Dat Knocking.” Rev. by William Clifton. New York: Vanderbeeks, n.d.
Zorer Maximilian. 1850. “Hither We Come.” New York: Vanderbeek,

Songsters

1858. Charley Fox's Ethiopian Songster. New York: Frederic A. Brady,
Christy's Nigga Songster, Containing Songs as Are Sung by Christy's, Pierce's, White's Sable Brothers, and Dumbleton's Band of Minstrels. New York: T. W. Strong, n.d.
1854. Christy's Plantation Melodies, No. 4. Philadelphia: Fisher & Brother,
Christy's and White's Ethiopian Melodies[,] Containing Two Hundred and Ninety-One of the Best and Most Popular and Approved Ethiopian Melodies Ever Written, Being the Largest and Most Complete Collection Ever Published[.] Comprising The Melodeon Song Book; Plantation Melodies; Ethiopian Song Book; Serenader's Song Book, and Christy and Wood's New Song Book. Published Under the Authority of George Christy and Charles White, the Original Delineators of the Popular Ludicrous Negro Character. Philadelphia: T. B. Peterson, n.d.
1854. The Ethiopian Serenaders' Own Book. New York: Philip J. Cozans,
The Ethiopian Serenaders' Own Book. 1857. Philadelphia: Fisher & Brother,
1847. The Forget Me Not Songster. A Choice Collection of Naval, Patriotic, Sentimental and Comic Songs. And all the Favorite Negro Melodies. New York: D. & J. Sadlier & Co.,
1854. George Christy & Wood's Melodies, As Sung by Their Unique Company, at Minstrel Hall, 444 Broadway, N. Y. Philadelphia: T. B. Peterson,
1844. My Old Dad's Woolly Headed Screamer Containing All the Newest Negro Melodies. As Now Singing[sic] with Universal Applause by Barney Williams, Cool White, Charles White, and the Renowned Original Band of Virginia Minstrels. New York: Turner & Fisher, c.
Nigger Melodies; Being the Only Entire and Complete Work of Ethiopian Songs Extant. New York: Nafis and Cornish, n.d.
White's New Ethiopian Song Book. Containing a Collection of All the New and Most Popular Songs, Glees, Choruses, Parodies, Duetts, Trios, Burlesque Lectures, Jokes, Conundrums, etc., as sung by White's Band of Serenaders, Christy's, New Orleans, etc. Philadelphia: T. B. Peterson, n.d.
1851. White's New Illustrated Melodeon Song Book. New York: H. Long & Brother,
1862. Wood's New Plantation Melodies, Containing A Selection of the Most Popular Chorus [sic], Quartettes, Glees, Trios, Duets, Songs, Parodies, Burlesques, etc. Also, Funny Stories, Satirical Jokes, Quaint Sayings Conundrums, Repartees, etc., as told by the celebrated E. Horn, at Wood's Minstrel Hall, 444 Broadway. The Whole Revised and Corrected by M. Campbell. Acting Manager of Wood's Minstrels. New York: Dick & Fitzgerald,

Discography

The Early Minstrel Show. New World Records 80338-2 [1985] 1998.