Patriotic Melodies tells the stories behind many of the songs that have now become part of the American national heritage. A combination of hymns, national songs, music of the theater, radio and television, military themes, and poetry, all of this music demonstrates that while over history many things have changed, this expression of pride and hope remain a constant part of the American experience.
Only a portion of the most famous patriotic melodies of the United States are highlighted. Items featured include recordings, sheet music, manuscript scores, song sheets, and other print materials. These items do not represent the Library of Congress' entire holdings on a song, but rather a selection. Selection of the songs and their accompanying items was based not only on what songs were the most significant in American history, but also on what unique items the Library had in its collections to illustrate the song.
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Because of copyright laws, songs from the twentieth century may not be represented by very many items on the Web site. While every effort has been made to obtain permission to use these songs or portions of these songs, in some cases this has not been possible. Therefore, there may be no recordings or paper items to illustrate those songs, although there will still be text on the history of these songs.
In several cases, the rights' owners of the materials have given permission to only use a portion of the material online. In those instances, only 30 seconds is used from a sound recording, and one or two pages from print or manuscript materials.
Recordings from the U.S. Armed Forces have been used in many cases to represent these songs partly because the site is being released near Memorial Day to commemorate our veterans. These recordings also carry fewer restrictions on dissemination of performance than more recent commercial releases. (Use of these recordings on the site does not reflect any endorsement for this site by the various Armed Forces branches.)
Early recordings that are in the public domain have also been included on this site, not only because they are free to use, but also because they show how renditions and performance styles have changed over the years. These include recordings by the Edison and Berliner companies--some from over a hundred years ago.
With the Meertens Tune Collections (MTC) the Meertens Instituut provides a rich set of collections of musical data for research purposes, such as musicological investigations or music information retrieval tasks. Over the past decades, these data have been collected in the Database of Dutch Songs. The online interface of the Database of Dutch songs provides access at the level of individual records through extensive search and browse functionality. With the MTC, several collections are provided as a whole.
MTC-FS-INST is the successor of both MTC-FS and MTC-INST. MTC-LC predates both MTC-FS and MTC-INST. It is provided because it has been used in various research publications. MTC-ANN is a subset of MTC-LC that has been carefully selected for small scale experiments and that has been annotated concerning melodic similarity and motif occurrences. It contains 26 tune families.
To download follow this link: download form. We appreciate when you drop us your name, a comment (optional) and your email address (optional). The email addresses will exclusively be used for future notifications about MTC, and will under no circumstance be shared with third parties.
The Meertens Tune Collections were demonstrated during the 15th, 16th and 19th International Society for Music Information Retrieval Conferences.Download poster 2014Download poster 2015Download poster 2018
De Reuse, T. & I. Fujinaga (2019). Pattern Clustering in Monophonic Music by Learning a Non-Linear Embedding From Human Annotations. Proceedings of the 18th International Society for Music Information Retrieval Conference, Delft, Netherlands, pp. 761-768.
Panteli, M & S. Dixon. (2016). On the evaluation of rhythmic and melodic descriptors for music similarity. Proceedings of the 17th International Society for Music Information Retrieval Conference, New York. pp. 468-474.
Rodrguez-Lpez, M.E. & A. Volk. (2015). Selective Acquisition Techniques for Enculturation-Based Melodic Phrase Segmentation. Proceedings of the 16th International Society for Music Information Retrieval Conference, Malaga. pp. 218-224.
Janssen, B. & P. van Kranenburg. (2015). A Comparison of Symbolic Similarity Measures for Finding Occurrences of Melodic Segments. Proceedings of the 16th International Society for Music Information Retrieval Conference, Malaga. pp. 659-672.
Van Kranenburg, P. & F. Karsdorp. (2014). Cadence Detection in Western Traditional Stanzaic Songs using Melodic and Textual Features. Proceedings of the 15th International Society for Music Information Retrieval Conference, Taipei. pp. 391-396.
Van Kranenburg, P. & A. Volk & F. Wiering. (2012). On Identifying Folk Song Melodies Employing Recurring Motifs. Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music, Thessaloniki. pp. 1057-1062.
Van Kranenburg, P. & A. Volk & F. Wiering. (2011). On Operationalizing the Musicological Concept of Tune Family for Computational Modeling. Maegaard, B (ed.). Proceedings of Supporting Digital Humanities: Answering the unaskable. Kopenhagen.
Van Kranenburg, P. & G. Tzanetakis. (2010). A Computational Approach to the Modeling and Employment of Cognitive Units of Folk Song Melodies using Audio Recordings. Proceedings of the 11th International Conference on Music Perception and Cognition, Seattle.
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"Popular songs" can be broadly defined as songs that are at least intended to reach a broad audience via some form of commercial distribution, such as broadsides, sheet music, song collections, touring musicians or musical production and from the 1890s on, commercial recordings. Being made to travel, popular music is most likely to represent a broad range of influences, including ones from folk, church and other popular music sources.
This song, by Francis Hopkinson, was written in 1759 to a poem by Irish clergyman Thomas Parnell. Scored for voice and harpsichord, the song is America's earliest surviving secular composition. The tenor soloist is Lambert Murphy.
Regarded as America's first bona fide hit song, presented here in a performance by the famous Australian soprano Nellie Melba. The song was adapted from Henry R. Bishop's 1823 opera "Clari, Maid of Milan," with lyrics by John Howard Payne. It was widely sung throughout the nineteenth century and subsequently recorded by many early recording artists.
Though clear distinctions between popular, classical, folk and other broad areas of music are recognized today, it was not always so. Much music of the 17th and 18th centuries now called "baroque" or "classical" was broadly popular and not enjoyed solely by the upper classes. Songs of composers such as Handel and Haydn were not only widely heard in their day, but also were performed in private homes and public settings by amateurs for their families and friends. Melodies were sometimes appropriated from such sources, and repurposed as dance tunes or melodies for ballads and hymns. Hymns were often sung recreationally as well.
Although it was not until the mid-19th century that distinctly American popular song styles emerged, they did not emerge from a vacuum. Political differences notwithstanding, Americans living before and after the Revolution were willing consumers of British music, theater and literature. Many people of the day, including America's first notable composers, were fortunate enough to be exposed to a broad mixture of art music, folk music, hymnody, and a wide range of songs that were disseminated though popular "ballad operas" of the days such as John Gay's The Beggar's Opera from 1728, as well as in song collections from England such as Thomas D'Urfey's Pills to Purge Melancholy, published in several editions between 1698 and 1720, and George Bickham's The Musical Entertainer (1736-1739)
Well into the 19th Century, the popular music of the United States was largely that of Great Britain. From the early 18th century on though, popular songs were being written and published as broadsides, single sheets of paper containing lyrics for a song and indicating a well-known melody to which they should be sung, usually a British one. Some of the most memorable lyrics start to appear in the 1760s, when disgruntled colonists found a voice for their complaints against authority in "Liberty songs," humorous and bitter attacks on the Crown, the British Army, and colonial power figures that made ironic use of patriotic British melodies. This practice continued through the Revolution and beyond, and it is one of the ironies of our musical history that both "The Star Spangled Banner" and "My Country 'Tis of Thee" use appropriated British melodies. 152ee80cbc
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