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Contents. Canadian anthems National anthem ' is the national anthem of Canada. Wrote the music in 1880 as a setting of a patriotic poem composed by poet and judge Sir.
'O Canada' served as one of two de facto national anthems after 1939, officially becoming Canada's singular national anthem in 1980, when the Act of Parliament making it so received and became effective on July 1 as part of that year's celebrations. The national anthem is routinely played before sporting events involving Canadian teams.
Royal anthem ' is the royal anthem of Canada. There are various claims of authorship and several previous songs of similar style, but the first published version of what is almost the present tune appeared in 1744 in Thesaurus Musicus. The song has been used in Canada since the era when it was and 'God Save the King' (or 'God Save the Queen' during the reign of ) was played in honour of the. It has remained in use through Canada's progression to independence, becoming eventually one of the country's two de facto national anthems. After 'O Canada' was in 1980 proclaimed the national anthem, 'God Save The Queen' has been performed as the royal anthem, in the presence of the, other members of the Royal Family, and as part of the salute accorded to the and, as well as on other occasions.
Unofficial national anthem ' is an older but unofficial national anthem written by in 1867. It was in consideration for official national anthem; however, as no French version was ever written, it was never popular with Francophones. Provincial anthems ' is the official provincial song of, adopted in preparation for the province's centennial celebrations in 2005. The song was selected following a competition mandated by the Alberta Official Song Act, introduced in the in May 2001 and passed in November. 2008 ' is a patriotic song written by folk singer in 1963 that sings the praises of the many different regions of Canada.
It was used as the theme for, a folk music show that aired on and and was the theme song for the Canadian pavilion at, and there was once a movement for it to chosen as Canada's in 1965. ' is a song by that describes the building of the. This song was commissioned by the for a special broadcast on January 1, 1967, to start Canada's year. It appeared on Lightfoot's album later in the same year. Lightfoot re-recorded the track on his 1975 compilation album, with full orchestration (arranged by ). A live version also appears on his 1969 album. Additionally, the song was covered by, and who performed the song on the Lightfoot tribute album,.
In 2001, Gordon Lightfoot's 'Canadian Railroad Trilogy' was honoured as one of the Canadian MasterWorks by the. ' is a Canadian theme song written in 1968 by and orchestrated. The theme is popularly associated with Canada's national winter sport:.
It gained popularity through associated with 's, and 's from 1968 until 2008. In 2008 the CBC announced that the negotiations to renew their licence or purchase the theme had been unsuccessful and that they would run a national contest to find a new theme song. The rights were then purchased by rival broadcaster in perpetuity.
Beginning in the fall of 2008 the theme could be heard on hockey broadcasts on the CTV-owned and sports channels. ' is an song written. The song appears on an released by Rogers in 1981, and is considered one of the classic songs in Canadian music history. In the 2005 series, 'Northwest Passage' ranked fourth. It was referred to as one of Canada's unofficial anthems by, and former quoted the song both in her first official address and in her speech at the dedication of the new Canadian embassy in. First Nations nationalistic songs ' has been performed in some languages during the opening of a few national events. During the opening ceremonies of the in Calgary, 'O Canada' was sung in the southern by Yukon native Daniel Tlen.
At a National Hockey League game in Calgary on February 1, 2007, young singer became the first person ever to perform 'O Canada' in the at such an event. ' is thought of as a Canadian folk song, though written first as a poem. It is associated with camping and canoeing. Its subject matter is a romanticized vision of nature and the land from the perspective of an indigenous person, but it remains popular with the non-Aboriginal majority in Canada. The song appears in the film (2002). The song was partly re-written in 2005 by Canadian folk singer Dickson Reid and released on his debut album, Sugar in the Snow. Other nationalistic songs.
' is a popular from that is a corruption of the 1791 Scottish folk song 'The Soldier's Adieu', printed in 1803 in a newspaper and attributed to. When Nova Scotians began to adapt the song is unknown.
In the 1930s, Folklorist collected versions of the folk song from different communities along the eastern shore of Nova Scotia. The song had a resurgence when Halifax CBC TV show ' used 's version as the title theme. ' was composed by Chief Justice Francis Forbes sometime around 1820, and was adopted as the authorized march of the. A Canadianized version of Woody Guthrie's was released in 1955 by the folk group. See also. Adam Jortner (December 12, 2011).
Oxford University Press. ^ Lower, Stephen. Canadian Folk SOngs: A Centennial Collection.
Retrieved May 6, 2012. DeRocco, David (2008). Full Blast Productions. Queen's Printer for Canada.
Retrieved June 29, 2010. ^ Department of Canadian Heritage. Queen's Printer for Canada.
Retrieved October 29, 2011. (PDF) (1 ed.). Ottawa: Queen's Printer for Canada.
Retrieved June 25, 2010. Anonymous. L'Association Canadienne De L'Infanterie/Canadian Infantry Association. Archived from on April 22, 2012.
Retrieved May 4, 2012. March 3, 2010.
Retrieved October 29, 2011. Anonymous. National Anthems of the World Organisation. Retrieved May 4, 2012. Anonymous.
Island Information. The Government of Prince Edward Island.
Retrieved May 6, 2012. ^ Volume four, p. Lorne Bruce (August 2010). Retrieved May 3, 2012. Dictionary of Canadian Biography Online. Retrieved May 4, 2012. The Canadian Songwriters Virtual Hall of Fame.
February 2006. Retrieved July 6, 2012. Gens du Pays: more than a birthday song. La Presse (in French). February 5, 2011. Retrieved August 21, 2015. Hickey p.351.
Nielsen Business Media, Inc. (February 18, 1967). Nielsen Business Media, Inc. August 31, 1933. From the original on December 12, 2008.
Retrieved May 4, 2012. Retrieved May 4, 2012.
Dave Bidini (October 18, 2011). Random House Digital, Inc. Elizabeth Lumley (May 2009). Canadian Who's Who 2009. University of Toronto Press. Betty Nygaard King. From the original on May 27, 2010.
Retrieved April 25, 2010. Retrieved May 4, 2012. ^ John Wilson (2001). Dundurn Press Ltd. Archived from on April 12, 2005.
Retrieved May 4, 2012. ' Ladies and gentlemen, I'd like to end by leaving you with a line from Stan Rogers' unofficial Canadian anthem – Northwest Passage.' February 16, 2013, at the., August 17, 2006 in. Chris Gudgeon. Canadian Encyclopedia.
Retrieved May 4, 2012. The Governor General of Canada. Berlin, April 29, 2005. Retrieved May 4, 2012. Yukon First Nations. Retrieved March 31, 2010.
February 1, 2007. Retrieved April 17, 2008.
Read MacDonald, Margaret; Winifred Jaeger. 'The Round Book: Rounds Kids Love to Sing'. North Haven, CT: Shoe String Press Inc., 1999, Page 14. Retrieved August 20, 2011. Retrieved December 18, 2018.
See also her book Traditional Songs from Nova Scotia, 1950. Retrieved December 18, 2018. Woodford, Paul G. John's: Creative Publishers. Canadian Army.
Retrieved October 18, 2014. Authorized Marches: Quick March: The Banks of Newfoundland.
Related Content. A week earlier, Francis Scott Key, a 35-year-old American lawyer, had boarded the flagship of the British fleet on the Chesapeake Bay in hopes of persuading the British to release a friend who had recently been arrested. Key's tactics were successful, but because he and his companions had gained knowledge of the impending attack on Baltimore, the British did not let them go. They allowed the Americans to return to their own vessel but continued guarding them.
Under their scrutiny, Key watched on September 13 as the barrage of Fort McHenry began eight miles away. 'It seemed as though mother earth had opened and was vomiting shot and shell in a sheet of fire and brimstone,' Key wrote later. But when darkness arrived, Key saw only red erupting in the night sky. Given the scale of the attack, he was certain the British would win. The hours passed slowly, but in the clearing smoke of 'the dawn's early light' on September 14, he saw the —not the British Union Jack—flying over the fort, announcing an American victory. Key put his thoughts on paper while still on board the ship, setting his words to the tune of a popular English song. His brother-in-law, commander of a militia at Fort McHenry, read Key's work and had it distributed under the name 'Defence of Fort M'Henry.'
The Baltimore Patriot newspaper soon printed it, and within weeks, Key's poem, now called 'The Star-Spangled Banner,' appeared in print across the country, immortalizing his words—and forever naming the flag it celebrated. Nearly two centuries later, the flag that inspired Key still survives, though fragile and worn by the years. To preserve this American icon, experts at the National Museum of American History recently completed an eight-year conservation treatment with funds from Polo Ralph Lauren, The Pew Charitable Trusts and the U.S. And when the museum reopens in summer 2008, the Star-Spangled Banner will be its centerpiece, displayed in its own state-of-the-art gallery. 'The Star-Spangled Banner is a symbol of American history that ranks with the Statue of Liberty and the Charters of Freedom,' says Brent D. Glass, the museum's director. 'The fact that it has been entrusted to the National Museum of American History is an honor.'
Started in 1996, the Star-Spangled Banner preservation project—which includes the flag's conservation and the creation of its new display in the renovated museum—was planned with the help of historians, conservators, curators, engineers and organic scientists. With the construction of the conservation lab completed in 1999, conservators began their work. Over the next several years, they clipped 1.7 million stitches from the flag to remove a linen backing that had been added in 1914, lifted debris from the flag using dry cosmetic sponges and brushed it with an acetone-water mixture to remove soils embedded in fibers. Finally, they added a sheer polyester backing to help support the flag. 'Our goal was to extend the flag's usable lifetime,' says Suzanne Thomassen-Krauss, the conservator for the project. The intent was never to make the flag look as it did when it first flew over Fort McHenry, she says. 'We didn't want to change any of the history written on the artifact by stains and soil.
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Those marks tell the flag's story.' While the conservators worked, the public looked on. Over the years, more than 12 million people peered into the museum's glass conservation lab, watching the progress. 'The Star-Spangled Banner resonates with people in different ways, for different reasons,' says Kathleen Kendrick, curator for the Star-Spangled Banner preservation project. 'It's exciting to realize that you're looking at the very same flag that Francis Scott Key saw on that September morning in 1814.
But the Star-Spangled Banner is more than an artifact—it's also a national symbol. It evokes powerful emotions and ideas about what it means to be an American.' This aerial photo shows star-shaped Fort McHenry, the location of the Battle of Baltimore on September 13-14, 1814. (Courtesy of the National Park Service) The Flag's Beginnings The Star-Spangled Banner's history starts not with Francis Scott Key, but a year earlier with Maj. George Armistead, the commander of Fort McHenry. Knowing that his fort was a likely British target, Armistead told the commander of Baltimore defenses in July 1813 that he needed a flag—a big one. 'We, sir, are ready at Fort McHenry to defend Baltimore against invading by the enemyexcept that we have no suitable ensign to display over the Star Fort, and it is my desire to have a flag so large that the British will have no difficulty in seeing it from a distance.'
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Armistead soon hired a 29-year-old widow and professional flagmaker, Mary Young Pickersgill of Baltimore, Maryland, to make a garrison flag measuring 30 by 42 feet with 15 stars and 15 stripes (each star and stripe representing a state). A large flag, but one not unusual for the time. Over the next six weeks, Mary, her daughter, three of Mary's nieces, a 13-year-old indentured servant and possibly Mary's mother Rebecca Young worked 10-hour days sewing the flag, using 300 yards of English wool bunting. They made the stars, each measuring two feet in diameter, from cotton—a luxury item at the time. Initially they worked from Mary's home (now a private museum known as the Flag House), but as their work progressed they needed more room and had to move to Claggett's brewery across the street.
On August 19, 1813, the flag was delivered to Fort McHenry. For making the Star-Spangled Banner, Mary was paid $405.90. She received another $168.54 for sewing a smaller (17 by 25 feet) storm flag, likely using the same design. It was this storm flag—not the garrison flag now known as the Star-Spangled Banner—which actually flew during the battle.
The garrison flag, according to eyewitness accounts, wasn't raised until the morning. After the Battle of Baltimore Armistead remained in command of Fort McHenry for the rest of his life. Historians are not sure how the Armistead family came into possession of the flag, but upon Armistead's death in 1818, his wife Louisa inherited it. It is she who is thought to have sewed the red upside-down 'V' on the flag, beginning the stitches for the letter 'A.' She is also thought to have begun the tradition of giving pieces of the flag away to honor her husband's memory, as well as the memories of the soldiers who defended the fort under his command.
When Louisa died in 1861, she passed the flag down to their daughter Georgiana Armistead Appleton over the legal objections of their son. 'Georgiana was the only child born at the fort, and she was named for her father,' says Thomassen-Krauss. 'Louisa wanted Georgiana to have it.' The Missing Pieces In 1873, Georgiana loaned the flag to George Preble, a flag historian who until that time had thought the flag was lost. That same year, Preble had the first known photograph of it taken at the Boston Navy Yard and exhibited it at the New England Historic Genealogical Society, where he stored it until 1876.
While the Star-Spangled Banner was in Preble's care, Georgiana allowed him to give away pieces of the flag as he saw fit. Georgiana, herself, had given away cuttings of the flag to other Armistead descendants, as well as family friends. She once noted, 'Had we given all that we have been importuned for little would be left to show.'
This family tradition continued through 1880 with Armistead's grandson giving away the last documented piece, says Thomassen-Krauss. Several of these cuttings from the Star-Spangled Banner have been located over the years, including about a dozen that are owned by the American History Museum.
'We're aware of at least a dozen more that exist in other museums and private collections,' says Kendrick. But a missing 15th star has never been found. 'There's a legend that the star was buried with one of the soldiers from Fort McHenry; another says that it was given to Abraham Lincoln,' says Kendrick. 'But no real evidence has surfaced to support these stories, and the true fate of the star remains one of the Smithsonian's great unsolved mysteries.' 100 Years at the Smithsonian After Georgiana's death, the flag passed to Eben Appleton, Armistead's grandson, who loaned it to the city of Baltimore for the 1880 sesquicentennial celebration. It then remained in a safe-deposit vault in New York City until Appleton loaned it to the Smithsonian in 1907.
Five years later, he made the gift permanent, saying he wanted it to belong 'to the Institution in the country where it could be conveniently seen by the public and where it would be well cared for.' When the flag arrived at the Smithsonian it was smaller (30 by 34 feet), damaged from years of use at the fort and from pieces being removed as souvenirs. Recognizing its need for repair, the Smithsonian hired Amelia Fowler, an embroidery teacher and well-known flag preserver, in 1914 to replace the canvas backing that had been added in 1873. Having worked on historic flags for the United States Naval Academy, Fowler had patented a method of supporting fragile flags with a linen backing that required a honeycomb pattern of stitches.
With the help of ten needlewomen, Fowler spent eight weeks on the flag, receiving $1,243 for the materials and work. For the next 50 years, with the exception of a brief move during World War II, the Star-Spangled Banner was displayed in what is now the Arts and Industries Building. Because of the flag's size and the dimensions of the glass case it was displayed in, the public never saw the entire flag while it was housed in this location. That changed after architects designed the new National Museum of History and Technology, now the National Museum of American History, with space to allow the flag to hang.
The Star-Spangled Banner remained in Flag Hall from 1964 until 1999, when it was moved to the conservation lab. With the recent completion of the project, the Star-Spangled Banner will remain an icon of American history that can still be seen by the public. Says Glass, 'The survival of this flag for nearly 200 years is a visible testimony to the strength and perseverance of this nation, and we hope that it will inspire many more generations to come.'