The South Before the War Company Papers
Collection
Call Number: MSS 87
Scope and Contents
The South Before the War Company Papers include scripts, orchestral parts, published and unpublished sheet music, and other ephemera. Unfortunately, there is no list of musical numbers used in the show, and it is difficult to judge if any of the orchestral parts constitute a complete score. The script is complete, however, and it is possible to combine that with the songs and segues that most frequently appear in the orchestral parts to make a very preliminary sketch of the musical numbers involved:
Act I:
Before Curtain
Curtain music
Chorus at curtain: Negro melodies: "Picking Cotton", "Oaken Bucket" etc.
"Chicken Songs"
"Black Annie"
"My Old Kentucky Home"
"The Days When I Was Young" (or "My Old Savannah Home"?)
"Ambolena Snow"
Grand Chorus: "Palms"
Act II & Act III (?):
Intro. music to "Levee scene"
"Buck Dance"
"Soft Shoe Dance"
"Frog Act"
"Paulina Cotrell" (female solo?)
The Baileys -- specialty act
Andy McLeod -- specialty act
"One Hundred Fathoms Deep"
Keystone Quartet -- specialty act
Imperial Quartet -- specialty act
"The Man Who Led the Cake Walk"
Finale
The Papers, of course, include many more songs than indicated in this list. The individual orchestral scores are largely made up of segues identified only by script cues, and there is some variation from score to score. The second half of the show appears to have been only loosely related to the story line: it is basically a variety revue.
Act I:
Before Curtain
Curtain music
Chorus at curtain: Negro melodies: "Picking Cotton", "Oaken Bucket" etc.
"Chicken Songs"
"Black Annie"
"My Old Kentucky Home"
"The Days When I Was Young" (or "My Old Savannah Home"?)
"Ambolena Snow"
Grand Chorus: "Palms"
Act II & Act III (?):
Intro. music to "Levee scene"
"Buck Dance"
"Soft Shoe Dance"
"Frog Act"
"Paulina Cotrell" (female solo?)
The Baileys -- specialty act
Andy McLeod -- specialty act
"One Hundred Fathoms Deep"
Keystone Quartet -- specialty act
Imperial Quartet -- specialty act
"The Man Who Led the Cake Walk"
Finale
The Papers, of course, include many more songs than indicated in this list. The individual orchestral scores are largely made up of segues identified only by script cues, and there is some variation from score to score. The second half of the show appears to have been only loosely related to the story line: it is basically a variety revue.
Dates
- [Late 1890s?]
Creator
Language of Materials
Materials chiefly in English.
Conditions Governing Access
The collection is open to researchers by appointment. There are no restricted materials in the collection.
Conditions Governing Use
The South Before the War Company Papers are the physical property of the Irving S. Gilmore Music Library of Yale University. Copyrights belong to the composers and authors, or their legal heirs and assigns.
Immediate Source of Acquisition
The South Before the War Company Papers were established in the Music Library of Yale University by Marguerite S. Megaw in 1981.
Arrangement
In 2 series, as follows: I. Publicity, scripts, and other materials. II. Music.
Extent
4 Linear Feet (4 boxes)
Catalog Record
A record for this collection is available in Orbis, the Yale University Library catalog
Persistent URL
Overview
Music and other materials from the touring minstrel show The South Before the War
Biographical / Historical
The South Before the War Company was a minstrel show owned and managed by Herman Wallum (alias Harry Martell) that toured the United States in the late 1890s (and possibly before and after that time as well). The musical show performed by the Company was also named The South Before the War, and the company-owned parlor car bore the same name.
Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes. The Gilmore Music Library's Special Collections include Blackface minstrelsy materials for the benefit of scholars seeking to better understand the role racial performance has had in shaping Western culture.
Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes. The Gilmore Music Library's Special Collections include Blackface minstrelsy materials for the benefit of scholars seeking to better understand the role racial performance has had in shaping Western culture.
Processing Information
This finding aid contains original descriptive language for materials that contain racists, outdated, and harmful language. This includes transcribed titles of musical works. The use of this description is not an endorsement of the language it contains. Original descriptive language has been retained to promote searchability and discoverability of the collections.
Citation for the biographical/historical note on Blackface minstrelsy: Berry, Dorothy. “Descriptive Equity and Clarity around Blackface Minstrelsy in HTC Collections.” August 6, 2021. www.dorothy-berry.com/description
Citation for the biographical/historical note on Blackface minstrelsy: Berry, Dorothy. “Descriptive Equity and Clarity around Blackface Minstrelsy in HTC Collections.” August 6, 2021. www.dorothy-berry.com/description
- Title
- Register to The South Before the War Company Papers
- Status
- Edited Full Draft
- Author
- Compiled by Ana Bentancur
- Date
- 1996-2007
- Description rules
- Finding Aid Prepared According To Local Music Library Descriptive Practices
- Language of description note
- Finding aid written in English.
Part of the Gilmore Music Library Repository
Contact:
120 High Street
PO Box 208240
New Haven CT 06520 US
(203) 432-0497
musicspecialcollections@yale.edu
120 High Street
PO Box 208240
New Haven CT 06520 US
(203) 432-0497
musicspecialcollections@yale.edu