Stephen Collins Foster (b. Lawrence, near Pittsburgh, PA, 4 July 1826–d. New York, 13 January 1864) was the first professional songwriter in the United States, and the earliest to write songs whose images pervaded American culture and whose melodies endure into the 21st century. For his most familiar songs, he wrote both lyrics and music, though he also set poems that had appeared in household magazines, and toward the end of his life he partnered with poet George Cooper. His oeuvre includes principally songs for solo voice (or solo voice plus four-voice chorus) with piano accompaniment, four-voice hymns, and instrumental works (mostly dances, for piano). His songs for blackface minstrels (which provided him with the majority of his income, though they amount to less than one-tenth of his 287 authenticated compositions) were controversial from the start; they made Foster’s reputation, even as he attempted to create “refined” songs in a genre he considered to be rife with “trashy and really offensive words” (Foster letter to E. P. Christy, 25 May 1852). He was of Scots-Irish descent, and as a resident of a northern industrializing urban center that drew workers from throughout Western Europe, he was attuned to different national styles of song and common sentiments of lyric poetry not confined by ethnicity, race, or social class. His song structures and lyrics became models for other songwriters well into the Tin Pan Alley era; his inability to control copyrights (which were owned by his publishers) and his death in poverty (with 38 cents in his pocket) were factors in the establishment of the American Society of Composers, Authors and Publishers (ASCAP) fifty years later. It is perhaps not coincidental that songs quoting Foster’s “Swanee River” (“The Old Folks at Home”) helped launch the careers of two of the most significant American songwriters of the 20th century, Irving Berlin (“Alexander’s Ragtime Band”) and George Gershwin (“Swanee”). This bibliography summarizes the major sources of archival, published, and online information about Foster’s life, career, music, and their interpretation and influence in the social and cultural history of the United States, Europe, and East Asia. It omits the sound recordings, plays, films, novels, and other creative works that reflect and contribute to that influence.
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