Введение
Марширующая песня США "John Brown's Body" (первоначально известная как "John Brown's Song") – это американская маршевая песня, посвященная аболиционисту Джону Брауну. Песня была популярна в северных штатах во время Гражданской войны в США. Она возникла из традиции народных гимнов, связанных с американским движением лагерных собраний конца XVIII и начала XIX века. Согласно отчету 1889 года, оригинальный текст, посвященный Джону Брауну, был коллективным трудом группы солдат Союза, которые ссылались как на знаменитого Джона Брауна, так и, в шутку, на сержанта Джона Брауна из своего батальона. Различные авторы публиковали дополнительные куплеты или заявляли о своем авторстве текста и мелодии песни о Джоне Брауне. Эти собрания обычно проводились в отдаленных районах, где люди, не имевшие регулярного доступа к церковным службам, собирались вместе для богослужения перед приезжающими проповедниками. Эти встречи были важными социальными событиями, но приобрели репутацию буйных, наряду с пылким религиозным рвением, испытываемым участниками. В этой атмосфере, где гимны преподавали и учили наизусть, а спонтанность и импровизация ценились, как мелодии, так и слова менялись и адаптировались в истинной манере народной музыки: специалисты по американской религиозной истории XIX века описывают музыку лагерных собраний как творческий продукт участников, которые, охваченные духом проповеди или молитвы, использовали строки из текста проповедника в качестве отправной точки для короткой, простой мелодии. Мелодия либо заимствовалась из существующей, либо сочинялась на месте. Строка повторялась несколько раз, с небольшими изменениями, и постепенно формировалась в строфу, которую другие могли легко выучить и запомнить. Ранние версии "Say, Brothers" включали варианты, разработанные в рамках этой традиции пения гимнов в форме вопросов и ответов, такие как:
"John Brown's Body" (originally known as "John Brown's Song") is a United States marching song about the abolitionist John Brown. The song was popular in the Union during the American Civil War. The song arose out of the folk hymn tradition of the American camp meeting movement of the late 18th and early 19th century. According to an 1889 account, the original John Brown lyrics were a collective effort by a group of Union soldiers who were referring both to the famous John Brown and also, humorously, to a Sergeant John Brown of their own battalion. Various other authors have published additional verses or claimed credit for originating the John Brown lyrics and tune. The "flavor of coarseness, possibly of irreverence" These meetings were usually held in frontier areas, when people who lacked regular access to church services would gather together to worship before traveling preachers. These meetings were important social events, but developed a reputation for wildness in addition to wild religious fervor experienced by attendees. In that atmosphere, where hymns were taught and learned by rote and a spontaneous and improvisational element was prized, both tunes and words changed and adapted in true folk music fashion:
Specialists in nineteenth century American religious history describe camp meeting music as the creative product of participants who, when seized by the spirit of a particular sermon or prayer, would take lines from a preacher's text as a point of departure for a short, simple melody. The melody was either borrowed from a preexisting tune or made up on the spot. The line would be sung repeatedly, changing slightly each time, and shaped gradually into a stanza that could be learned easily by others and memorized quickly. Early versions of "Say, Brothers" included variants, developed as part of this call and response hymn singing tradition such as:
Oh! Brothers will you meet me
Oh! Sisters will you meet me
Oh! Mourners will you meet me
Oh! Sinners will you meet me
Oh! Christians will you meet me
This initial line was repeated three times and finished with the tag "On Canaan's happy shore". The first choruses included lines such as
We'll shout and give him glory (3×)
For glory is his own
The familiar "Glory, glory, hallelujah" chorus—a notable feature of the "John Brown Song", the "Battle Hymn of the Republic", and many other texts that used this tune—developed out of the oral camp meeting tradition sometime between 1808 and the 1850s. Folk hymns like "Say, Brothers" circulated and evolved chiefly through oral tradition rather than through print. In print, the camp meeting song can be traced back as early as 1806–1808, when it was published in camp meeting song collections in South Carolina, Virginia, and Massachusetts. The tune and variants of the "Say, brothers" hymn text were popular in southern camp meetings, with both African American and white worshipers, throughout the early 1800s, spread predominantly through Methodist and Baptist camp meeting circuits. As the southern camp meeting circuit died down in the mid 1800s, the "Say, brothers" tune was incorporated into hymn and tune books and it was via this route that the tune became well known in the mid 1800s throughout the northern U. S. By 1861, "groups as disparate as Baptists, Mormons, Millerites, the American Sunday School Union, and the Sons of Temperance all claimed 'Say Brothers' as their own." For example, in 1858 words and the tune were published in The Union Harp and Revival Chorister, selected and arranged by Charles Dunbar, and published in Cincinnati. The book contains the words and music of a song "My Brother Will You Meet Me", with the music but not the words of the "Glory Hallelujah" chorus; and the opening line "Say my brother will you meet me". In December 1858 a Brooklyn Sunday school published a hymn called "Brothers, Will You Meet Us" with the words and music of the "Glory Hallelujah" chorus, and the opening line "Say, brothers will you meet us". Some researchers have maintained that the tune's roots go back to a "Negro folk song", an African American wedding song from Georgia, or to a British sea shanty that originated as a Swedish drinking song. Anecdotes indicate that versions of "Say, Brothers" were sung as part of African American ring shouts; appearance of the hymn in this call and response setting with singing, clapping, stomping, dancing, and extended ecstatic choruses may have given impetus to the development of the well known "Glory hallelujah" chorus. Given that the tune was developed in an oral tradition, it is impossible to say for certain which of these influences may have played a specific role in the creation of this tune, but it is certain that numerous folk influences from different cultures such as these were prominent in the musical culture of the camp meeting, and that such influences were freely combined in the music making that took place in the revival movement. If so, that subtext was considerably enhanced and expanded as the various "John Brown" lyrics took on themes related to the famous abolitionist and the American Civil War.
О, братья, встретите ли вы меня?
О, сестры, встретите ли вы меня?
О, скорбящие, встретите ли вы меня?
О, грешники, встретите ли вы меня?
О, христиане, встретите ли вы меня?
"John Brown's Body" (originally known as "John Brown's Song") is a United States marching song about the abolitionist John Brown. The song was popular in the Union during the American Civil War. The song arose out of the folk hymn tradition of the American camp meeting movement of the late 18th and early 19th century. According to an 1889 account, the original John Brown lyrics were a collective effort by a group of Union soldiers who were referring both to the famous John Brown and also, humorously, to a Sergeant John Brown of their own battalion. Various other authors have published additional verses or claimed credit for originating the John Brown lyrics and tune. The "flavor of coarseness, possibly of irreverence" These meetings were usually held in frontier areas, when people who lacked regular access to church services would gather together to worship before traveling preachers. These meetings were important social events, but developed a reputation for wildness in addition to wild religious fervor experienced by attendees. In that atmosphere, where hymns were taught and learned by rote and a spontaneous and improvisational element was prized, both tunes and words changed and adapted in true folk music fashion:
Specialists in nineteenth century American religious history describe camp meeting music as the creative product of participants who, when seized by the spirit of a particular sermon or prayer, would take lines from a preacher's text as a point of departure for a short, simple melody. The melody was either borrowed from a preexisting tune or made up on the spot. The line would be sung repeatedly, changing slightly each time, and shaped gradually into a stanza that could be learned easily by others and memorized quickly. Early versions of "Say, Brothers" included variants, developed as part of this call and response hymn singing tradition such as:
Oh! Brothers will you meet me
Oh! Sisters will you meet me
Oh! Mourners will you meet me
Oh! Sinners will you meet me
Oh! Christians will you meet me
This initial line was repeated three times and finished with the tag "On Canaan's happy shore". The first choruses included lines such as
We'll shout and give him glory (3×)
For glory is his own
The familiar "Glory, glory, hallelujah" chorus—a notable feature of the "John Brown Song", the "Battle Hymn of the Republic", and many other texts that used this tune—developed out of the oral camp meeting tradition sometime between 1808 and the 1850s. Folk hymns like "Say, Brothers" circulated and evolved chiefly through oral tradition rather than through print. In print, the camp meeting song can be traced back as early as 1806–1808, when it was published in camp meeting song collections in South Carolina, Virginia, and Massachusetts. The tune and variants of the "Say, brothers" hymn text were popular in southern camp meetings, with both African American and white worshipers, throughout the early 1800s, spread predominantly through Methodist and Baptist camp meeting circuits. As the southern camp meeting circuit died down in the mid 1800s, the "Say, brothers" tune was incorporated into hymn and tune books and it was via this route that the tune became well known in the mid 1800s throughout the northern U. S. By 1861, "groups as disparate as Baptists, Mormons, Millerites, the American Sunday School Union, and the Sons of Temperance all claimed 'Say Brothers' as their own." For example, in 1858 words and the tune were published in The Union Harp and Revival Chorister, selected and arranged by Charles Dunbar, and published in Cincinnati. The book contains the words and music of a song "My Brother Will You Meet Me", with the music but not the words of the "Glory Hallelujah" chorus; and the opening line "Say my brother will you meet me". In December 1858 a Brooklyn Sunday school published a hymn called "Brothers, Will You Meet Us" with the words and music of the "Glory Hallelujah" chorus, and the opening line "Say, brothers will you meet us". Some researchers have maintained that the tune's roots go back to a "Negro folk song", an African American wedding song from Georgia, or to a British sea shanty that originated as a Swedish drinking song. Anecdotes indicate that versions of "Say, Brothers" were sung as part of African American ring shouts; appearance of the hymn in this call and response setting with singing, clapping, stomping, dancing, and extended ecstatic choruses may have given impetus to the development of the well known "Glory hallelujah" chorus. Given that the tune was developed in an oral tradition, it is impossible to say for certain which of these influences may have played a specific role in the creation of this tune, but it is certain that numerous folk influences from different cultures such as these were prominent in the musical culture of the camp meeting, and that such influences were freely combined in the music making that took place in the revival movement. If so, that subtext was considerably enhanced and expanded as the various "John Brown" lyrics took on themes related to the famous abolitionist and the American Civil War.
Эта начальная строка повторялась трижды и завершалась припевом: "На счастливом берегу Ханаана". Первые припевы включали строки:
"John Brown's Body" (originally known as "John Brown's Song") is a United States marching song about the abolitionist John Brown. The song was popular in the Union during the American Civil War. The song arose out of the folk hymn tradition of the American camp meeting movement of the late 18th and early 19th century. According to an 1889 account, the original John Brown lyrics were a collective effort by a group of Union soldiers who were referring both to the famous John Brown and also, humorously, to a Sergeant John Brown of their own battalion. Various other authors have published additional verses or claimed credit for originating the John Brown lyrics and tune. The "flavor of coarseness, possibly of irreverence" These meetings were usually held in frontier areas, when people who lacked regular access to church services would gather together to worship before traveling preachers. These meetings were important social events, but developed a reputation for wildness in addition to wild religious fervor experienced by attendees. In that atmosphere, where hymns were taught and learned by rote and a spontaneous and improvisational element was prized, both tunes and words changed and adapted in true folk music fashion:
Specialists in nineteenth century American religious history describe camp meeting music as the creative product of participants who, when seized by the spirit of a particular sermon or prayer, would take lines from a preacher's text as a point of departure for a short, simple melody. The melody was either borrowed from a preexisting tune or made up on the spot. The line would be sung repeatedly, changing slightly each time, and shaped gradually into a stanza that could be learned easily by others and memorized quickly. Early versions of "Say, Brothers" included variants, developed as part of this call and response hymn singing tradition such as:
Oh! Brothers will you meet me
Oh! Sisters will you meet me
Oh! Mourners will you meet me
Oh! Sinners will you meet me
Oh! Christians will you meet me
This initial line was repeated three times and finished with the tag "On Canaan's happy shore". The first choruses included lines such as
We'll shout and give him glory (3×)
For glory is his own
The familiar "Glory, glory, hallelujah" chorus—a notable feature of the "John Brown Song", the "Battle Hymn of the Republic", and many other texts that used this tune—developed out of the oral camp meeting tradition sometime between 1808 and the 1850s. Folk hymns like "Say, Brothers" circulated and evolved chiefly through oral tradition rather than through print. In print, the camp meeting song can be traced back as early as 1806–1808, when it was published in camp meeting song collections in South Carolina, Virginia, and Massachusetts. The tune and variants of the "Say, brothers" hymn text were popular in southern camp meetings, with both African American and white worshipers, throughout the early 1800s, spread predominantly through Methodist and Baptist camp meeting circuits. As the southern camp meeting circuit died down in the mid 1800s, the "Say, brothers" tune was incorporated into hymn and tune books and it was via this route that the tune became well known in the mid 1800s throughout the northern U. S. By 1861, "groups as disparate as Baptists, Mormons, Millerites, the American Sunday School Union, and the Sons of Temperance all claimed 'Say Brothers' as their own." For example, in 1858 words and the tune were published in The Union Harp and Revival Chorister, selected and arranged by Charles Dunbar, and published in Cincinnati. The book contains the words and music of a song "My Brother Will You Meet Me", with the music but not the words of the "Glory Hallelujah" chorus; and the opening line "Say my brother will you meet me". In December 1858 a Brooklyn Sunday school published a hymn called "Brothers, Will You Meet Us" with the words and music of the "Glory Hallelujah" chorus, and the opening line "Say, brothers will you meet us". Some researchers have maintained that the tune's roots go back to a "Negro folk song", an African American wedding song from Georgia, or to a British sea shanty that originated as a Swedish drinking song. Anecdotes indicate that versions of "Say, Brothers" were sung as part of African American ring shouts; appearance of the hymn in this call and response setting with singing, clapping, stomping, dancing, and extended ecstatic choruses may have given impetus to the development of the well known "Glory hallelujah" chorus. Given that the tune was developed in an oral tradition, it is impossible to say for certain which of these influences may have played a specific role in the creation of this tune, but it is certain that numerous folk influences from different cultures such as these were prominent in the musical culture of the camp meeting, and that such influences were freely combined in the music making that took place in the revival movement. If so, that subtext was considerably enhanced and expanded as the various "John Brown" lyrics took on themes related to the famous abolitionist and the American Civil War.
Мы будем вопить и славить его (3×)
Ибо слава принадлежит ему одному.
"John Brown's Body" (originally known as "John Brown's Song") is a United States marching song about the abolitionist John Brown. The song was popular in the Union during the American Civil War. The song arose out of the folk hymn tradition of the American camp meeting movement of the late 18th and early 19th century. According to an 1889 account, the original John Brown lyrics were a collective effort by a group of Union soldiers who were referring both to the famous John Brown and also, humorously, to a Sergeant John Brown of their own battalion. Various other authors have published additional verses or claimed credit for originating the John Brown lyrics and tune. The "flavor of coarseness, possibly of irreverence" These meetings were usually held in frontier areas, when people who lacked regular access to church services would gather together to worship before traveling preachers. These meetings were important social events, but developed a reputation for wildness in addition to wild religious fervor experienced by attendees. In that atmosphere, where hymns were taught and learned by rote and a spontaneous and improvisational element was prized, both tunes and words changed and adapted in true folk music fashion:
Specialists in nineteenth century American religious history describe camp meeting music as the creative product of participants who, when seized by the spirit of a particular sermon or prayer, would take lines from a preacher's text as a point of departure for a short, simple melody. The melody was either borrowed from a preexisting tune or made up on the spot. The line would be sung repeatedly, changing slightly each time, and shaped gradually into a stanza that could be learned easily by others and memorized quickly. Early versions of "Say, Brothers" included variants, developed as part of this call and response hymn singing tradition such as:
Oh! Brothers will you meet me
Oh! Sisters will you meet me
Oh! Mourners will you meet me
Oh! Sinners will you meet me
Oh! Christians will you meet me
This initial line was repeated three times and finished with the tag "On Canaan's happy shore". The first choruses included lines such as
We'll shout and give him glory (3×)
For glory is his own
The familiar "Glory, glory, hallelujah" chorus—a notable feature of the "John Brown Song", the "Battle Hymn of the Republic", and many other texts that used this tune—developed out of the oral camp meeting tradition sometime between 1808 and the 1850s. Folk hymns like "Say, Brothers" circulated and evolved chiefly through oral tradition rather than through print. In print, the camp meeting song can be traced back as early as 1806–1808, when it was published in camp meeting song collections in South Carolina, Virginia, and Massachusetts. The tune and variants of the "Say, brothers" hymn text were popular in southern camp meetings, with both African American and white worshipers, throughout the early 1800s, spread predominantly through Methodist and Baptist camp meeting circuits. As the southern camp meeting circuit died down in the mid 1800s, the "Say, brothers" tune was incorporated into hymn and tune books and it was via this route that the tune became well known in the mid 1800s throughout the northern U. S. By 1861, "groups as disparate as Baptists, Mormons, Millerites, the American Sunday School Union, and the Sons of Temperance all claimed 'Say Brothers' as their own." For example, in 1858 words and the tune were published in The Union Harp and Revival Chorister, selected and arranged by Charles Dunbar, and published in Cincinnati. The book contains the words and music of a song "My Brother Will You Meet Me", with the music but not the words of the "Glory Hallelujah" chorus; and the opening line "Say my brother will you meet me". In December 1858 a Brooklyn Sunday school published a hymn called "Brothers, Will You Meet Us" with the words and music of the "Glory Hallelujah" chorus, and the opening line "Say, brothers will you meet us". Some researchers have maintained that the tune's roots go back to a "Negro folk song", an African American wedding song from Georgia, or to a British sea shanty that originated as a Swedish drinking song. Anecdotes indicate that versions of "Say, Brothers" were sung as part of African American ring shouts; appearance of the hymn in this call and response setting with singing, clapping, stomping, dancing, and extended ecstatic choruses may have given impetus to the development of the well known "Glory hallelujah" chorus. Given that the tune was developed in an oral tradition, it is impossible to say for certain which of these influences may have played a specific role in the creation of this tune, but it is certain that numerous folk influences from different cultures such as these were prominent in the musical culture of the camp meeting, and that such influences were freely combined in the music making that took place in the revival movement. If so, that subtext was considerably enhanced and expanded as the various "John Brown" lyrics took on themes related to the famous abolitionist and the American Civil War.
Знакомый припев "Слава, слава, аллилуйя" – заметная черта "Песни Джона Брауна", "Боевого гимна Республики" и многих других текстов, использующих эту мелодию, – развился из устной традиции лагерных собраний где-то между 1808 и 1850-ми годами. Народные гимны, такие как "Say, Brothers", распространялись и развивались главным образом через устную традицию, а не через печать. В печатном виде песня для лагерных собраний прослеживается начиная с 1806–1808 годов, когда она была опубликована в сборниках песен для лагерных собраний в Южной Каролине, Вирджинии и Массачусетсе. Мелодия и варианты текста гимна "Say, Brothers" были популярны на южных лагерных собраниях как среди афроамериканцев, так и среди белых прихожан в начале 1800-х годов, распространяясь преимущественно через методистские и баптистские лагерные округа. Когда южный лагерный круг собраний пришел в упадок в середине 1800-х годов, мелодия "Say, brothers" была включена в сборники гимнов и мелодий, и именно таким образом мелодия стала широко известной в середине 1800-х годов по всей северной части США. К 1861 году "такие разные группы, как баптисты, мормоны, миллериты, Американский союз воскресных школ и Сыны трезвости, все заявляли, что "Say Brothers" принадлежит им". Например, в 1858 году слова и мелодия были опубликованы в "The Union Harp and Revival Chorister", отобранном и аранжированном Чарльзом Данбаром и изданном в Цинциннати. В книге содержатся слова и музыка песни "Мой брат, встретишься ли ты со мной", с музыкой, но без слов хора "Слава Аллилуйя"; и вступительная строка "Скажи, брат мой, встретишься ли ты со мной". В декабре 1858 года в Бруклинской воскресной школе был издан гимн под названием "Братья, встретитесь ли вы с нами?" со словами и музыкой хора "Слава Аллилуйя", а в первой строке было "Скажите, братья, встретитесь ли вы с нами". Некоторые исследователи утверждают, что корни мелодии уходят в "негритянскую народную песню", афроамериканскую свадебную песню из Джорджии или в британскую морскую песню, которая возникла как шведская застольная песня. Сообщения указывают на то, что версии "Say, Brothers" исполнялись в рамках афроамериканских ритуальных танцев; появление гимна в этой форме вопросов и ответов с пением, хлопаньем в ладоши, топотом, танцами и продолжительными экстатическими припевами, возможно, дало толчок развитию известного хора "Слава, аллилуйя". Учитывая, что мелодия развивалась в устной традиции, невозможно с уверенностью сказать, какое из этих влияний сыграло конкретную роль в ее создании, но очевидно, что многочисленные народные влияния из разных культур, подобные этим, были широко распространены в музыкальной культуре лагерных собраний, и что эти влияния свободно сочетались в музыке, создаваемой в ходе возрождения. Если это так, то этот подтекст был значительно усилен и расширен, когда различные тексты, посвященные Джону Брауну, стали затрагивать темы, связанные с известным аболиционистом и Гражданской войной в США.
"John Brown's Body" (originally known as "John Brown's Song") is a United States marching song about the abolitionist John Brown. The song was popular in the Union during the American Civil War. The song arose out of the folk hymn tradition of the American camp meeting movement of the late 18th and early 19th century. According to an 1889 account, the original John Brown lyrics were a collective effort by a group of Union soldiers who were referring both to the famous John Brown and also, humorously, to a Sergeant John Brown of their own battalion. Various other authors have published additional verses or claimed credit for originating the John Brown lyrics and tune. The "flavor of coarseness, possibly of irreverence" These meetings were usually held in frontier areas, when people who lacked regular access to church services would gather together to worship before traveling preachers. These meetings were important social events, but developed a reputation for wildness in addition to wild religious fervor experienced by attendees. In that atmosphere, where hymns were taught and learned by rote and a spontaneous and improvisational element was prized, both tunes and words changed and adapted in true folk music fashion:
Specialists in nineteenth century American religious history describe camp meeting music as the creative product of participants who, when seized by the spirit of a particular sermon or prayer, would take lines from a preacher's text as a point of departure for a short, simple melody. The melody was either borrowed from a preexisting tune or made up on the spot. The line would be sung repeatedly, changing slightly each time, and shaped gradually into a stanza that could be learned easily by others and memorized quickly. Early versions of "Say, Brothers" included variants, developed as part of this call and response hymn singing tradition such as:
Oh! Brothers will you meet me
Oh! Sisters will you meet me
Oh! Mourners will you meet me
Oh! Sinners will you meet me
Oh! Christians will you meet me
This initial line was repeated three times and finished with the tag "On Canaan's happy shore". The first choruses included lines such as
We'll shout and give him glory (3×)
For glory is his own
The familiar "Glory, glory, hallelujah" chorus—a notable feature of the "John Brown Song", the "Battle Hymn of the Republic", and many other texts that used this tune—developed out of the oral camp meeting tradition sometime between 1808 and the 1850s. Folk hymns like "Say, Brothers" circulated and evolved chiefly through oral tradition rather than through print. In print, the camp meeting song can be traced back as early as 1806–1808, when it was published in camp meeting song collections in South Carolina, Virginia, and Massachusetts. The tune and variants of the "Say, brothers" hymn text were popular in southern camp meetings, with both African American and white worshipers, throughout the early 1800s, spread predominantly through Methodist and Baptist camp meeting circuits. As the southern camp meeting circuit died down in the mid 1800s, the "Say, brothers" tune was incorporated into hymn and tune books and it was via this route that the tune became well known in the mid 1800s throughout the northern U. S. By 1861, "groups as disparate as Baptists, Mormons, Millerites, the American Sunday School Union, and the Sons of Temperance all claimed 'Say Brothers' as their own." For example, in 1858 words and the tune were published in The Union Harp and Revival Chorister, selected and arranged by Charles Dunbar, and published in Cincinnati. The book contains the words and music of a song "My Brother Will You Meet Me", with the music but not the words of the "Glory Hallelujah" chorus; and the opening line "Say my brother will you meet me". In December 1858 a Brooklyn Sunday school published a hymn called "Brothers, Will You Meet Us" with the words and music of the "Glory Hallelujah" chorus, and the opening line "Say, brothers will you meet us". Some researchers have maintained that the tune's roots go back to a "Negro folk song", an African American wedding song from Georgia, or to a British sea shanty that originated as a Swedish drinking song. Anecdotes indicate that versions of "Say, Brothers" were sung as part of African American ring shouts; appearance of the hymn in this call and response setting with singing, clapping, stomping, dancing, and extended ecstatic choruses may have given impetus to the development of the well known "Glory hallelujah" chorus. Given that the tune was developed in an oral tradition, it is impossible to say for certain which of these influences may have played a specific role in the creation of this tune, but it is certain that numerous folk influences from different cultures such as these were prominent in the musical culture of the camp meeting, and that such influences were freely combined in the music making that took place in the revival movement. If so, that subtext was considerably enhanced and expanded as the various "John Brown" lyrics took on themes related to the famous abolitionist and the American Civil War.
Использование в других местах
1 мая 1865 года в Чарльстоне, Южная Каролина, недавно освобожденные афроамериканцы и некоторые белые миссионеры провели парад численностью 10 000 человек, который возгланяли 3 000 чернокожих детей, исполнявших песню "John Brown's Body". Марш был посвящен памяти 257 павших солдат Союза, останки которых организаторы перезахоронили из общей могилы в лагере для военнопленных Конфедерации. Это событие считается первым празднованием Дня украшения могил, ныне известного как День памяти. В 1906 году американский консул во Владивостоке, Россия, Ричард Т. Гринер, доложил о том, что русские солдаты пели эту песню. Это происходило в контексте Русской революции 1905 года.
Первое публичное выступление
На церемонии поднятия флага в форте Уоррен, близ Бостона, в воскресенье, 12 мая 1861 года, песня "Джон Браун" прозвучала публично, возможно, впервые.
Уильям Стефф
В гимнах и сборниках народных песен мелодия гимна "Say, Brothers" часто приписывается Уильяму Стеффе. Роберт У. Аллен суммирует рассказ самого Стеффе о создании этой мелодии:
Стеффе наконец рассказал полную историю написания песни. Его попросили написать её в 1855 или 1856 году для пожарной команды Good Will Engine Company из Филадельфии. Они использовали её как приветственную песню для прибывшей из Балтимора пожарной команды Liberty. Изначальный куплет песни звучал как "Скажи, Буммерс, встретишься ли с нами?". Кто-то другой преобразовал куплет "Скажи, Буммерс" в гимн "Скажи, Братья, встретимся ли мы?". Он думал, что сможет узнать этого человека, но так и не смог. Хотя Стеффе, возможно, и сыграл роль в создании версии песни "Say, Bummers", которая, по-видимому, является вариантом и в некоторой степени обязана как "Say, Brothers", так и "John Brown", Стеффе не мог быть автором мелодии "Glory Hallelujah" или текста гимна "Say, Brothers", поскольку оба они циркулировали десятилетиями до его рождения.
Томас Бригхэм Бишоп
Автор песен, музыкант, руководитель ансамбля и солдат Союза Томас Бригхэм Бишоп (1835–1905) также считается автором песни о Джоне Брауне, особенно это утверждал промоутер Джеймс МакИнтайр в книге 1916 года и в интервью 1935 года. (Бишоп также заявлял, что написал песни "Китти Уэллс", "Шу, муха, не тревожь меня" и "Когда Джонни вернётся с войны", а также принимал участие в создании "Реки Суони".)
Другие заявители
В конце 1800-х годов, в период наибольшей популярности песни, целый ряд других авторов заявляли, что внесли вклад в её происхождение. Однако, учитывая использование этой мелодии на собраниях религиозных общин в конце 1700-х и начале 1800-х годов, а также первые известные даты публикации – 1806–1808 годы, задолго до рождения большинства этих претендентов, становится очевидным, что ни один из этих авторов не является автором мелодии, которая легла в основу песен "Say, Brothers" и "John Brown". Постоянное повторное использование и спонтанная адаптация существующих текстов и мелодий – важная черта традиции устной народной музыки, частью которой были "Say, Brothers" и "John Brown Song", и никто не стал бы возражать против использования или переработки этих народных материалов. Возможно, некоторые из тех, кто заявлял об авторстве мелодии, действительно участвовали в создании и публикации вполне легитимных вариантов или альтернативных текстов, использующих эту мелодию, но, безусловно, все они стремились к славе, которая сопутствовала известности как автору этой широко известной мелодии.
Создание других версий
После того, как "John Brown's Body" стала популярной марширующей песней, для мелодии "John Brown" были созданы более литературные варианты текста. Например, Уильям Уэстон Паттон написал свою влиятельную версию в октябре 1861 года, которая была опубликована в Chicago Tribune 16 декабря того же года. "Песнь Первого Арканзаса" была написана или записана капитаном Линдли Миллером в 1864 году, хотя (что типично для путаницы в авторстве среди различных вариантов и версий) аналогичный текст под названием "Храбрые солдаты" также приписывается Соджорнер Трут. "Президентский указ" была написана Эдной Дин Проктор в 1863 году в связи с провозглашением об освобождении рабов. Другие варианты включают "Маршевую песню 4-го батальона стрелков, 13-го полка добровольцев из Массачусетса" и "Kriegslied der Division Blenker", написанную для дивизии Бленкера – группы немецких солдат, участвовавших в европейских революциях 1848/49 годов и сражавшихся за Союз в Гражданской войне в США.
Другие связанные тексты
Мелодия позже также использовалась для "Битвенного гимна Республики" (написанного в ноябре 1861 года, опубликованного в феврале 1862 года; эта песня была непосредственно вдохновлена "Телом Джона Брауна"), "Марширующей песни Первого Арканзаса", "Битвенного гимна сотрудничества", "Буммеры, приходите и встретьте нас" (см. факсимиле), и многих других связанных текстов и пародий во время и сразу после периода Гражданской войны в США. В американскую песню Второй мировой войны о парашютистах "Кровь на стропах" положена эта мелодия, и она включает припев: "Слава, слава (или Горько, горько), вот какой адский способ умереть / И он больше не прыгнет!". С тех пор она также была адаптирована для гражданского парашютного спорта. Эта мелодия была использована, возможно, в самой известной в США профсоюзной песне "Solidarity Forever". Песня стала гимном Промышленных рабочих мира и всех профсоюзов, которые стремились не только к уступкам на рабочих местах, но и к миру, управляемому теми, кто трудится. Моряки, как известно, адаптировали "Тело Джона Брауна" в морскую шанти, в частности, в "Капстанную шанти", используемую при подъеме якоря. Мелодия "Джон Браун" оказалась популярной для народных текстов, с многочисленными ироничными версиями, созданными за эти годы. "Сожжение школы" – хорошо известная пародия, которую поют школьники, а другая версия, начинающаяся словами "У ребенка Джона Брауна простуда", часто поется детьми в летних лагерях. Афроамериканская версия была записана как "Мы повесим Джеффа Дэвиса на кислом яблоне". Подобным образом, боевая песня в Университете Пенсильвании, положенная на ту же мелодию, начинается словами: "Повесим Джеффа Дэвиса на кислом яблоне". Как распространенный футбольный кричалка, она обычно называется "Слава, слава". Знаменитая немецкая детская песня (без курсива) ("Все дети учатся читать") также основана на этой мелодии. Версия песни также была исполнена французскими парашютистами: (без курсива), что означает "да, мы разобьем наши черепа в хоре / но мы вернемся победителями". В Шри-Ланке она была адаптирована в двуязычную (английскую и сингальскую) песню, которую поют на матчах по крикету, особенно на Royal Thomian, со словами: "Мы повесим всех томианцев на дерево каджу пухуланг". Другая адаптация, исполняемая на ежегодном матче между юридическими и медицинскими колледжами Коломбо, звучала как "Liquor arsenalis and cannabis indica". Это было адаптировано в трехъязычную песню Sooty Banda. Музыка используется в немецкой детской песне Frank und seine Freunde под названием "Все дети учатся читать". Лен Чендлер спел песню "Move on over" на эту мелодию в телешоу Пита Сигера Rainbow Quest.
Текст песни
Текст песни, используемый на мотив "Джон Браун", как правило, становится сложнее и увеличивается по количеству слогов по мере перехода от простой, передаваемой устно песни с церковных собраний к устной маршевой песне, а затем к более сознательно литературным версиям. Увеличение количества слогов привело к все большему числу пунктирных ритмов в мелодии, чтобы вместить возросшее количество слогов. В результате куплет и припев, которые были музыкально идентичны в песне "Say, Brothers", стали достаточно различными в ритмическом плане – хотя и сохранили идентичный мелодический профиль – в "John Brown's Body". Эта тенденция к все более сложным ритмическим вариациям оригинальной мелодии еще более усилилась в более поздних версиях "Песни о Джоне Брауне" и в "Битвенном гимне Республики", в которых на куплет приходится гораздо больше слов и слогов, чем в ранних версиях. Дополнительные слова и слоги встраивались в мелодию путем добавления большего количества пунктирных ритмов и включения четырех отдельных строк в каждом куплете вместо трехкратного повторения первой строки. В результате в этих более поздних версиях куплет и припев стали еще более отличными друг от друга в ритмическом и поэтическом отношении, хотя их основной мелодический профиль оставался неизменным.