Talk:The Battle Hymn of the Republic
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- 1 Colorado Buffaloes
- 2 instrumental version with trumpets
- 3 "Balay ko sa langit"
- 4 Another spanish lyrics, sung in spanish churches
- 5 Verse 5: ... Let us 'LIVE' to make men free?
- 6 William Steffe's contribution
- 7 Influence in churches and hymanls
- 8 American History X: The White Man Marches on - Johnny Rebel
- 9 Rhythm in score
The athletic teams of the University of Colorado at Boulder have several "fight songs," one of which is "Glory Colorado," using the same tune as the Battle Hymn of the Republic. Please do not confuse the American football team at the University of Colorado with the Colorado Rapids professional soccer team. Although the word "football" is applied to both, they are vastly different phenomena. Paul (talk) 03:59, 8 September 2011 (UTC)
Hanging Jefferson Davis
I think during the Civil War the Union troops would sing:
- "Oh, we're gonna hang Jeff Davis from a sour apple tree..."
But I cannot document it, and at any rate Mr. Davis was not hanged. Das Baz, aka Erudil 22:17, 28 September 2011 (UTC)
The apples were sour just so the words would fit the music of the Battle Hymn. Das Baz, aka Erudil 22:17, 28 September 2011 (UTC)
instrumental version with trumpets
Do you know how plays the instrumental version of that song? It was used in the KLTJ ID back in the 90's. It sounds like the version from the album Ferrante & Teicher - Spirit Of 176, accept it has trumpets. — Preceding unsigned comment added by 184.108.40.206 (talk) 03:16, 20 September 2012 (UTC)
"Balay ko sa langit"
Visayan, the language of this children's song, is not a "dialect" as the article said, but a subfamily of languages in the Philippines:
- Native speakers of Visayan languages, especially Cebuano, Hiligaynon, and Waray-Waray not only refer to their language by their local name, but also by Bisaya or Binisaya, meaning Visayan language. This is misleading or may lead to confusion as different languages may be called Bisaya by their respective speakers despite their languages being mutually unintelligible. However, languages that are classified within the Visayan language family but spoken natively in places outside of the Visayas do not use the self-reference Bisaya or Binisaya. To speakers of Butuanon, Surigaonon, and Masbatenyo, the term Visaya usually refers to Cebuano.
Another spanish lyrics, sung in spanish churches
Verse 5: ... Let us 'LIVE' to make men free?
It's more than curious and so perhaps "politically correct" that the authors of some versions, including the lyrics typed into this version, have found it necessary to change the lyrics written in 1862 by Julia Ward Howe. One need only click on the Atlantic Monthly image on this article to actually read and see that in the 5th Verse, Ms. Howe clearly wrote "As He died to make men Holy, let us DIE to make men free." Why folks seem to find it important to change her lyrics to "...let us LIVE to make men free" is beyond me. Her point, no doubt considering this was written just a few months after the beginning of the Civil War, was that the anti-slavery Union forces and sympathizers were willing to lay down their lives, to "DIE," to make other men free. — Preceding unsigned comment added by TheBirdsIView (talk • contribs) 10:41, 17 June 2013 (UTC)
===Agreed- significantly weakens the song, and flat out wrong to boot.
===Agreed, historical revisionism leading to banality. Please edit to "as he died to make men holy, let us die to make men free."
William Steffe's contribution
We're saying he wrote the music, but William Steffe says he "collected and edited a camp-meeting song with the traditional "Glory Hallelujah" refrain, in about 1856". That is, he fiddled with an existing tune. This makes him an arranger or an editor in my books, but not the "writer" of the music. -- Jack of Oz [pleasantries] 08:31, 25 November 2013 (UTC)
- I updated the history section based on info from an excellent new source, a scholarly history of the Battle Hymn of the Republic, the tune, and related texts: The Battle Hymn of the Republic: A Biography of the Song That Marches On by John Stauffer and Benjamin Soskis. Some of the book is available via Google Books.
- This makes it clear the Steffe is neither the composer of the tune nor even the first pubisher (that happened in 1806 before Steffe was even born). It is clear that the tune was in use at that time, the early 1800s. Steffe's 1856 publication *might* be the first time the tune was laid out and published in music notation, but that and the fact that he is one of many who collected and published similar existing camp meeting and hymn tunes is his only possible notability in relation to the Glory Hallelujah tune.
- I've updated the History section with this information and relevant references.Bhugh (talk) 20:25, 1 June 2014 (UTC)
Influence in churches and hymanls
One quite notable omission in the article is the song's cultural influence on Christian churches. The song is included in many Christian hymnals and sung in many Christian churches. This seems to have significantly impacted and increased in cultural influence and awareness and seems worthy of exploration or, at the very least, mention. — Preceding unsigned comment added by Turnerjazz (talk • contribs) 20:27, 30 April 2014 (UTC)
American History X: The White Man Marches on - Johnny Rebel
The movie American History X included a modified version of this song. The fat guy sung it while driving down the road in a van: YouTube clip. Should this be mentioned in the article? The lyrics are as follows:
My eyes have seen the glory of the tramplin at the zoo,
We washed ourselves in niggers blood and all the mongrals too,
We're taking down the ZOG machine jew by jew by jew,
The white man marches on!
—User000name 20:09, 27 March 2015 (UTC)
Rhythm in score
There are several errors in the rhythm in the current version of the score in the article:
I think the following things are wrong:
- The initial pick-up note on "Mine" should be a semi-quaver (sixteenth note).
- The rhythm for "eyes have" should be dotted (i.e. long/short).
- The rhythm for "he is" should be dotted, without an explicit rest.
- The notes on "vintage" should be long/short, as elsewhere.
- It is conventional to put a bar-line at the end.
This is supported by this version, although this has different pitches.
This gives the following version, which I will put in the article.
I am also dubious about the pitches of some of the notes. However, there are probably several versions with minor differences. This version is not obviously wrong, so I won't change it without a good source. Ideally we should use a version from an old (out of copyright) hymn book, which we should cite. Verbcatcher (talk) 02:43, 8 December 2015 (UTC)