Presidential Sheet Music

Political historians have traditionally interpreted the people and events of each presidential era by studying books, periodicals, letters, diaries and speeches. One source of printed material that has not received much scholarly attention is published music, much of which has been all but lost in the archives of libraries and museums. The traditional librarianly cataloguing of music has ignored important aspects such as lyrical content and cover art, making it impossible to comprehensively locate and study items by subject matter. Presidential Sheet Music presents an exhaustive listing of presidential-related music in all printed forms, and provides information on each piece. Thus may we expand our understanding of political communication and discourse throughout American history. A sizable Introduction discusses matters from the publication in 1768 of The Liberty Song (which formally made music an instrument of political expression in America) to the few 1980s and 1990s presidential songs and marches. There are also helpful appendices which list music by titles, composers, publishers, and candidates.

This is an exhaustive reference work of sheet music published in the United States from the late 18th century to the year after adoption of the 19th amendment to the Constitution granting women the right to vote. In chronological order, the entries present bibliographic data (words by, music by, published in, published by, copyright, size, cover, inside, key, location) on each piece of music, a photographic depiction of the cover or first page (where available), and the complete lyrics for each piece. Included are early music of a rebellious nature, music surrounding the early woman's rights conventions, and pro and anti woman's rights and suffrage pieces from 1795 on; a limited number of entries on non-U.S. sheet music are presented also. General music about women, sentimental and love songs, and songs related to traditional roles and stereotypes have not been included.

The Ku Klux Klan has received much attention for its violent activities, but comparatively little research has been done on its musical legacy. The printed music that still exists is spread throughout the nation in both public and private collections. This work presents, chronologically, the music associated with the Klan from 1867 to 2002, thus enabling readers to sense the arguments and attitudes of the Klan as they developed and changed over time. Because of the relative scarcity of Klan–related music, non–Klan music that mentions the word “Klan” is included. These obscure references help place the Klan in a larger social perspective and are very important in documenting anti–Klan musical reaction. In instances where a song merely mentions the Klan, usually in only one verse or in the chorus, then only that verse containing the Klan reference, plus appropriate context, is included. The catalogue also includes Klan–related music that does not have lyrics, such as marches, waltzes, two-steps, and several Klan–related pieces that were published in Europe. Sheet music was virtually nonexistent after the 1930s, so in order to capture a feeling of Klan–related music today, a limited discography of Klan–related recordings from 1920 to 2002 is also included.

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.

An Illustrated Bibliographic Catalogue of published music associated with George Washington, Catalogue features over 1500 color and black & white images of the covers of sheet music and other published materials featuring related songs. Includes a metadata section providing composers, arrangers, publishers and other relevant data, Also includes two indices - Composers & Titles, each arranged in alphabetical order.

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z’s song “Dirt Off Your Shoulder,” politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton’s sax-playing and Obama’s shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes.

In this insightful, erudite history of presidential campaign music, musicologist Benjamin Schoening and political scientist Eric Kasper explain how politicians use music in American presidential campaigns to convey a range of political messages. From “Follow Washington” to “I Like Ike” to “I Got a Crush on Obama,” they describe the ways that song use by and for presidential candidates has evolved, including the addition of lyrics to familiar songs, the current trend of using existing popular music to connect with voters, and the rapid change of music’s relationship to presidential campaigns due to Internet sites like YouTube, JibJab, and Facebook. Readers are ultimately treated to an entertaining account of American political development through popular music and the complex, two-way relationship between music and presidential campaigns.

Which president holds the record for the most vetoes? Which president had the largest shoe size? Who was the only president to serve in both World War I and World War II? Who was the tallest president? These questions and many, many more are answered in The Smithsonian Book of Presidential Trivia, which has been fully updated to 2024 to include trivia question and answers about every US president to date. Divided into 11 chapters, The Smithsonian Book of Presidential Trivia looks at every aspect of our heads of state and presidential history: Citizens, Officers, Heroes, and Saviors; Stumping: From Front Porch to Facebook; The Pledge and the Parties; Inside the Oval Office; The Perpetual Podium; Home, Hotel, Parlor, Playground; First Families; Impeachment, Controversy, Shame; Assassination; Death, and National Mourning; Presidents in the Popular Imagination; and The Quotable President. Many of the questions are accompanied with photographs of artifacts from the Smithsonian's collections. The Smithsonian Book of Presidential Trivia is sure to puzzle the trivia buff and presidential expert alike!