text:
Dixie (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article has an unclear citation style. The references used may be made clearer with a different or consistent style of citation, footnoting, or external linking. Format citations to use {{sfn}} or a similar template. (August 2015) (Learn how and when to remove this template message)
Dixie
Sheet music cover, c. 1900.
Unofficial national anthem of the
Confederate States
Also known as
Dixie's Land
I Wish I Was in Dixie
Lyrics
Daniel Decatur Emmett, Unknown
Music
Daniel Decatur Emmett, Unknown
Adopted
1861
Relinquished
1865
Audio sample
Dixie
file
help
v
t
e
"Dixie," also known as "Dixie's Land," "I Wish I Was in Dixie," and other titles, is a popular American song. It is one of the most distinctively American musical products of the 19th century,[1] and probably the best-known song to have come out of blackface minstrelsy.[2] Although not a folk song at its creation, "Dixie" has since entered the American folk vernacular. The song likely cemented the word "Dixie" in the American vocabulary as a toponym for the Southern United States.
Although most sources credit Ohio-born Daniel Decatur Emmett with the song's composition, other people have claimed to have composed "Dixie," even during Emmett's lifetime. Compounding the problem of definitively establishing the song's authorship are Emmett's own confused accounts of its writing, and his tardiness in registering the song's copyright. The latest challenge has been made on behalf of the Snowden Family of Knox County, Ohio, who may have collaborated with Emmett to write "Dixie."
The song originated in the blackface minstrel shows of the 1850s and quickly became popular across the United States. During the American Civil War, "Dixie" was adopted as a de facto anthem of the Confederacy. New versions appeared at this time that more explicitly tied the song to the events of the Civil War. Since the advent of the Civil Rights Movement, many have identified the lyrics of the song with the iconography and ideology of the Old South. Today, "Dixie" is sometimes considered offensive, and its critics liken the act of singing it to sympathy for slavery or racial separation in the American South. Its supporters, on the other hand, view it as a legitimate aspect of Southern culture, the fight for states rights and freedom from big government, and heritage. The song was a favorite of President Abraham Lincoln; he had it played at some of his political rallies and at the announcement of General Robert E. Lee's surrender.[3][4]
Contents
[hide]
1 Structure
2 Lyrics
3 Composition and copyright
3.1 Origin of the terms "Dixie" and "Dixieland"
4 Popularity through the Civil War
5 "Dixie" reconstructed
6 Whistling "Dixie"
7 Modern interpretations
8 Notes
9 References
10 External links
Structure[edit]
"Dixie" is structured into five 2-measure groups of alternating verses and refrains, following an AABC pattern.[5] As originally performed, a soloist or small group stepped forward and sang the verses, and the whole company answered at different times; the repeated line "look away" was probably one part sung in unison like this. As the song became popular, the audience likely joined the troupe in singing the chorus.[6] Traditionally, another eight measures of unaccompanied fiddle playing followed, coming to a partial close in the middle; since 1936, this part has rarely been printed with the sheet music.[7]
The song was traditionally played at a tempo slower than the one usually played today. Rhythmically, the music is "characterized by a heavy, nonchalant, inelegant strut,"[8] and is in duple meter, which makes it suitable for both dancing and marching. "Dixie" employs a single rhythmic motive (two sixteenth note pickups followed by a longer note), which is integrated into long, melodic phrases. The melodic content consists primarily of arpeggiations of the tonic triad, firmly establishing the major tonality. The melody of the chorus emulates natural inflections of the voice (particularly on the word "away"), and may account for some of the song's popularity.[9]
Detail from a playbill of the Bryant's Minstrels depicting the first part of a walkaround, dated December 19, 1859.
According to musicologist Hans Nathan, "Dixie" resembles other material that Dan Emmett wrote for Bryant's Minstrels, and, in writing it, the composer drew on a number of earlier works. The first part of the song is anticipated by other Emmett compositions, including "De Wild Goose-Nation" (1844), itself a derivative of "Gumbo Chaff" (1830s) and ultimately an 18th-century English song called "Bow Wow Wow." The second part is probably related to even older material, most likely Scottish folk songs.[10] The chorus follows portions of "Johnny Roach," an Emmett piece from earlier in 1859.[11]
As with other blackface material, performances of "Dixie" were accompanied by dancing. The song is a walkaround, which originally began with a few minstrels acting out the lyrics, only to be joined by the rest of the company (a dozen or so individuals for the Bryants).[12] As shown by the original sheet music (see below), the dance tune used with "Dixie" by Bryant's Minstrels, who introduced the song on the New York stage, was "Albany Beef," an Irish-style reel later included by Dan Emmett in an instructional book he co-authored in 1862.[13] Dancers probably performed between verses,[6] and a single dancer used the fiddle solo at the end of the song to "strut, twirl his cane, or mustache, and perhaps slyly wink at a girl on the front row."[14]
Lyrics[edit]
"Dixie"
1916 rendition of Dixie by the Metropolitan Mixed Chorus with Ada Jones and Billy Murray
"Dixie's Land"
Civil War soldiers favored both war versions of the song and the original lyrics, as heard here. This performance is by Civil War re-enactors, the 2nd South Carolina String Band.
Problems playing these files? See media help.
Countless lyrical variants of "Dixie" exist, but the version attributed to Dan Emmett and its variations are the most popular.[6] Emmett's lyrics as they were originally intended reflect the mood of the United States in the late 1850s toward growing abolitionist sentiment. The song presented the point of view, common to minstrelsy at the time, that slavery was overall a positive institution. The pining slave had been used in minstrel tunes since the early 1850s, including Emmett's "I Ain't Got Time to Tarry" and "Johnny Roach." The fact that "Dixie" and its precursors are dance tunes only further made light of the subject.[15] In short, "Dixie" made the case, more strongly than any previous minstrel tune had, that slaves belonged in bondage.[16] This was accomplished through the song's protagonist, who, in comic black dialect, implies that despite his freedom, he is homesick for the plantation of his birth:
Oh, I wish I was in the land of cotton,
Old times there are not forgotten.
Look away, look away, look away Dixie Land!
In Dixie's Land, where I was born in,
early on one frosty mornin'.
Look away, look away, look away Dixie Land!
I wish I was in Dixie, Hooray! Hooray!
In Dixie's Land I'll take my stand,
to live and die in Dixie.
Away, away, away down south in Dixie!
Away, away, away down south in Dixie!
There's buckwheat cakes and Injun batter,
Makes you fat or a little fatter.
Look away! Look away! Look away! Dixie Land
Then hoe it down and scratch your gravel,
To Dixie's Land I'm bound to travel.
Look away! Look away! Look away! Dixie Land
I wish I was in Dixie, Hooray! Hooray!
In Dixie's Land I'll take my stand,
to live and die in Dixie.
Away, away, away down south in Dixie!
Away, away, away down south in Dixie![17]
The lyrics use many common phrases found in minstrel tunes of the day—"I wish I was in ..." dates to at least "Clare de Kitchen" (early 1830s), and "Away down south in ..." appears in many more songs, including Emmett's "I'm Gwine ober de Mountain" (1843). The second stanza clearly echoes "Gumbo Chaff" from the 1830s: "Den Missus she did marry Big Bill de weaver / Soon she found out he was a gay deceiver."[18] The final stanza rewords portions of Emmett's own "De Wild Goose-Nation": "De tarapin he thot it was time for to trabble / He screw aron his tail and begin to scratch grabble."[19] Even the phrase "Dixie's land" had been used in Emmett's "Johnny Roach" and "I Ain't Got Time to Tarry," both first performed earlier in 1859.
As with other minstrel material, "Dixie" entered common circulation among blackface performers, and many of them added their own verses or altered the song in other ways. Emmett himself adopted the tune for a pseudo-African American spiritual in the 1870s or 1880s. The chorus changed to:
I wish I was in Canaan
Oaber dar—Oaber dar,
In Canaan's lann de color'd man
Can lib an die in cloaber
Oaber dar—Oaber dar,
Oaber dar in de lann ob Canaan.[20]
Both Union and Confederate composers produced war versions of the song during the American Civil War. These variants standardized the spelling and made the song more militant, replacing the slave scenario with specific references to the conflict or to Northern or Southern pride. This Confederate verse by Albert Pike is representative:
Southrons! hear your country call you!
Up! lest worse than death befall you! ...
Hear the Northern thunders mutter! ...
Northern flags in South wind flutter; ...
Send them back your fierce defiance!
Stamp upon the cursed alliance![21]
Compare Frances J. Crosby's Union lyrics:
On! ye patriots to the battle,
Hear Fort Moultrie's cannon rattle!
Then away, then away, then away to the fight!
Go meet those Southern traitors,
With iron will.
And should your courage falter, boys,
Remember Bunker Hill.
Hurrah! Hurrah! The Stars and Stripes forever!
Hurrah! Hurrah! Our Union shall not sever![22]
A second "unofficial" Union version was popular among Union troops, referred to as Union Dixie:
Away down South in the land of traitors,
Rattlesnakes and alligators,
Right away, come away, right away, come away.
Where cotton's king and men are chattels,
Union boys will win the battles,
Right away, come away, right away, come away.
Then we'll all go down to Dixie,
Away, away,
Each Dixie boy must understand
That he must mind his Uncle Sam.[23]
"The New Dixie!: The True 'Dixie' for Northern Singers" takes a different approach, turning the original song on its head:
Den I'm glad I'm not in Dixie
Hooray! Hooray!
In Yankee land I'll took my stand,
Nor lib no die in Dixie[24]
Soldiers on both sides wrote endless parody versions of the song. Often these discussed the banalities of camp life: "Pork and cabbage in the pot, / It goes in cold and comes out hot," or, "Vinegar put right on red beet, / It makes them always fit to eat." Others were more nonsensical: "Way down South in the fields of cotton, / Vinegar shoes and paper stockings."[25]
Aside from its being rendered in standard English, the chorus was the only section not regularly altered, even for parodies.[26] The first verse and chorus, in non-dialect form, are the best-known portions of the song today:[27]
I wish I was in the land of cotton, old times there are not forgotten,
Look away, look away, look away, Dixie Land.
In Dixie Land where I was born in, early on a frosty mornin',
Look away, look away, look away, Dixie Land.
Then I wish I was in Dixie, hooray! hooray!
In Dixie Land I'll take my stand to live and die in Dixie,
Away, away, away down South in Dixie,
Away, away, away down South in Dixie.[28]
Composition and copyright[edit]
"I Wish I Was in Dixie's Land" Sheet music
According to tradition, Ohio-born minstrel show composer Daniel Decatur Emmett wrote "Dixie" around 1859.[29] Over his lifetime, Emmett often recounted the story of its composition, and details vary with each account. For example, in various versions of the story, Emmett claimed to have written "Dixie" in a few minutes, in a single night, and over a few days.[30] An 1872 edition of The New York Clipper provides one of the earliest accounts, claiming that on a Saturday night shortly after Emmett had been taken on as songwriter for the Bryant's Minstrels, Jerry Bryant told him they would need a new walkaround by the following Monday. By this account, Emmett shut himself inside his New York flat and wrote the song that Sunday evening.[31]
Other details emerge in later accounts. In one, Emmett claimed that "Suddenly, ... I jumped up and sat down at the table to work. In less than an hour I had the first verse and chorus. After that it was easy."[32] In another version, Emmett stared out at the rainy evening and thought, "I wish I was in Dixie." Then, "Like a flash the thought suggested the first line of the walk-around, and a little later the minstrel, fiddle in hand, was working out the melody"[33] (a different story has it that Emmett's wife uttered the famous line).[34] Yet another variant, dated to 1903, further changes the details: "I was standing by the window, gazing out at the drizzly, raw day, and the old circus feeling came over me. I hummed the old refrain, 'I wish I was in Dixie,' and the inspiration struck me. I took my pen and in ten minutes had written the first verses with music. The remaining verses were easy."[35] In his final years, Emmett even claimed to have written the song years before he had moved to New York.[36] A Washington Post article supports this, giving a composition date of 1843.[37]
Emmett published "Dixie" (under the title "I Wish I Was in Dixie's Land") on June 21, 1860 through Firth, Pond & Co. in New York. The original manuscript has been lost; extant copies were made during Emmett's retirement, starting in the 1890s. Emmett's tardiness registering the copyright for the song allowed it to proliferate among other minstrel groups and variety show performers. Rival editions and variations multiplied in songbooks, newspapers and broadsides. The earliest of these that is known today is a copyrighted edition for piano from the John Church Company of Cincinnati, published on June 26, 1860. Other publishers attributed completely made-up composers with the song: "Jerry Blossom" and "Dixie, Jr.," among others.[38] The most serious of these challenges during Emmett's lifetime came from Southerner William Shakespeare Hays; this claimant attempted to prove his allegations through a Southern historical society, but he died before they could produce any conclusive evidence.[39] By 1908, four years after Emmett's death, no fewer than 37 people had claimed the song as theirs.[40]
"Dixie" is the only song Emmett ever claimed to have written in a burst of inspiration, and analysis of Emmett's notes and writings shows "a meticulous copyist, [who] spent countless hours collecting and composing songs and sayings for the minstrel stage ... ; little evidence was left for the improvisational moment."[41] The New York Clipper wrote in 1872 that "[Emmett's] claim to authorship of 'Dixie' was and is still disputed, both in and out of the minstrel profession."[42] Emmett himself said, "Show people generally, if not always, have the chance to hear every local song as they pass through the different sections of [the] country, and particularly so with minstrel companies, who are always on the look out for songs and sayings that will answer their business."[43] He claimed at one point to have based the first part of "Dixie" on "Come Philander Let's Be Marchin, Every One for His True Love Searchin," which he described as a "song of his childhood days." Musical analysis does show some similarities in the melodic outline, but the songs are not closely related.[44] Emmett also credited "Dixie" to an old circus song.[36] Despite the disputed authorship, Firth, Pond & Co. paid Emmett $300 for all rights to "Dixie" on February 11, 1861, perhaps fearing complications spurred by the impending Civil War.[45]
Origin of the terms "Dixie" and "Dixieland"[edit]
Several theories exist regarding the origin of the term "Dixie". According to Robert LeRoy Ripley (founder and originator of "Ripley's Believe It or Not"), Dixie has nothing to do with the south. "Dixieland" was originally located on a farm in Long Island, New York. This farm was owned by a man named John Dixie. He befriended so many slaves before the Civil War, his place, "Dixie's Land," became a sort of a paradise to them.
James H. Street, in his book, Look Away! A Dixie Notebook, as condensed in the August 1937 Readers Digest, page 45, says that "Johaan Dixie" a Haarlem (Manhattan Island) farmer and slave owner, upon deciding that his slaves were not profitable because they were necessarily idle during the New York winter, sent them to Charleston, where they were sold. Subsequently, the slaves were busy constantly, and, longing for the less strenuous life on the Haarlem farm, would chant, "I sho' wish we was back on Dixie's lan'. Lawdy Lawd. If we wuz all back on Dixie's lan'." Dan Emmett had toured the south, and had heard the Dixie ditty. Dixie did not catch on when Emmett introduced it in New Orleans in the late 50s, but a few years later at the secession convention in Montgomery Alabama the bandmaster was inspired to adapt Dixie, stepped up the tempo, and it became an instant success, and the anthem of the South.
The most popular theory maintains that the term's origins lie in the Mason–Dixon line.[46] Another theory posits that it derives from the term, "Dix Notes," which referred to ten dollar bills in Louisiana.
Popularity through the Civil War[edit]
Detail from a playbill for Bryant's Minstrels at April 4, 1859 premiere of "Dixie", Mechanics' Hall, New York City
Bryant's Minstrels premiered "Dixie" in New York City on April 4, 1859 as part of their blackface minstrel show. It appeared second to last on the bill, perhaps an indication of the Bryants' lack of faith that the song could carry the minstrel show's entire finale.[47] The walkaround was billed as a "plantation song and dance."[48] It was a runaway success, and the Bryants quickly made it their standard closing number.
"Dixie" quickly gained wide recognition and status as a minstrel standard, and it helped rekindle interest in plantation material from other troupes, particularly in the third act. It became a favorite of Abraham Lincoln and was played during his campaign in 1860.[49] The New York Clipper wrote that it was "one of the most popular compositions ever produced" and that it had "been sung, whistled, and played in every quarter of the globe."[50] Buckley's Serenaders performed the song in London in late 1860, and by the end of the decade, it had found its way into the repertoire of British sailors.[51] As the American Civil War broke out, one New Yorker wrote,
"Dixie" has become an institution, an irrepressible institution in this section of the country ... As a consequence, whenever "Dixie" is produced, the pen drops from the fingers of the plodding clerk, spectacles from the nose and the paper from the hands of the merchant, the needle from the nimble digits of the maid or matron, and all hands go hobbling, bobbling in time with the magical music of "Dixie."[52]
The Rumsey and Newcomb Minstrels brought "Dixie" to New Orleans in March 1860; the walkaround became the hit of their show. That April, Mrs. John Wood sang "Dixie" in a John Brougham burlesque called Po-ca-hon-tas, or The Gentle Savage, increasing the song's popularity in New Orleans. On the surface "Dixie" seems an unlikely candidate for a Southern hit; it has a Northern composer, stars a black protagonist, is intended as a dance song, and lacks any of the patriotic bluster of most national hymns and marches. Had it not been for the atmosphere of sectionalism in which "Dixie" debuted, it might have faded into obscurity.[53] Nevertheless, the refrain "In Dixie Land I'll took my stand / To lib an die in Dixie", coupled with the first verse and its sanguine picture of the South, hit a chord.[54] Woods's New Orleans audience demanded no fewer than seven encores.[55]
Unauthorized sheet music to "Dixie", published by P. P. Werlein and Halsey of New Orleans, Louisiana, in 1861
New Orleans publisher P. P. Werlein took advantage and published "Dixie" in New Orleans. He credited music to J. C. Viereck and Newcomb for lyrics. When the minstrel denied authorship, Werlein changed the credit to W. H. Peters. Werlein's version, subtitled "Sung by Mrs. John Wood," was the first "Dixie" to do away with the faux black dialect and misspellings. The publication did not go unnoticed, and Firth Pond & Co. threatened to sue. The date on Werlein's sheet music precedes that of Firth, Pond & Co.'s version, but Emmett later recalled that Werlein had sent him a letter offering to buy the rights for $5.[56] In a New York musical publishers' convention, Firth, Pond & Co. succeeded in convincing those present that Emmett was the composer. In future editions of Werlein's arrangement, Viereck is merely credited as "arranger." Whether ironically or sincerely, Emmett dedicated a sequel called "I'm Going Home to Dixie" to Werlein in 1861.[57]
"Dixie" quickly spread to the rest of the South, enjoying vast popularity. By the end of 1860, secessionists had adopted it as theirs; on December 20 the band played "Dixie" after each vote for secession at St. Andrew's Hall in Charleston, South Carolina.[55] On February 18, 1861, the song took on something of the air of national anthem when it was played at the inauguration of Jefferson Davis, arranged as a quickstep by Herman Frank Arnold[58], and possibly for the first time as a band arrangement.[59] Emmett himself reportedly told a fellow minstrel that year that "If I had known to what use they were going to put my song, I will be damned if I'd have written it."[60]
In May 1861 Confederate Henry Hotze wrote:
It is marvellous with what wild-fire rapidity this tune "Dixie" has spread over the whole South. Considered as an intolerable nuisance when first the streets re-echoed it from the repertoire of wandering minstrels, it now bids fair to become the musical symbol of a new nationality, and we shall be fortunate if it does not impose its very name on our country.[61]
Southerners who shunned the song's low origins and comedic nature changed the lyrics, usually to focus on Southern pride and the war.[62] Albert Pike's enjoyed the most popularity; the Natchez (Mississippi) Courier published it on May 30, 1861 as "The War Song of Dixie," followed by Werlein, who again credited Viereck for composition. Henry Throop Stanton published another war-themed "Dixie," which he dedicated to "the Boys in Virginia".[21] The defiant "In Dixie Land I'll take my stand / To live and die in Dixie" were the only lines used with any consistency. The tempo also quickened, as the song was a useful quickstep tune. Confederate soldiers by and large preferred these war versions to the original minstrel lyrics. "Dixie" was probably the most popular song for Confederate soldiers on the march, in battle, and at camp.[63]
Southerners who rallied to the song proved reluctant to acknowledge a Yankee as its composer. Accordingly, some ascribed it a longer tradition as a folk song. Poet John Hill Hewitt wrote in 1862 that "The homely air of 'Dixie,' of extremely doubtful origin ... [is] generally believed to have sprung from a noble stock of Southern stevedore melodies."[64]
Meanwhile, many Northern abolitionists took offense to the South's appropriation of "Dixie" because it was originally written as a satirical critique of the institution of slavery in the South. Before even the fall of Fort Sumter, Frances J. Crosby published "Dixie for the Union" and "Dixie Unionized." The tune formed part of the repertoire of both Union bands and common troops until 1863. Broadsides circulated with titles like "The Union 'Dixie'" or "The New Dixie, the True 'Dixie' for Northern Singers." Northern "Dixies" disagreed with the Southerners over the institution of slavery and this dispute, at the center of the divisiveness and destructiveness of the American Civil War, played out in the culture of American folk music through the disputes over the meaning of this song.[65] Emmett himself arranged "Dixie" for the military in a book of fife instruction in 1862, and a 1904 work by Charles Burleigh Galbreath claims that Emmett gave his official sanction to Crosby's Union lyrics.[66] At least 39 versions of the song, both vocal and instrumental, were published between 1860 and 1866.[67]
Northerners, Emmett among them, also declared that the "Dixie Land" of the song was actually in the North. One common story, still cited today, claimed that Dixie was a Manhattan slave owner who had sent his slaves south just before New York's 1827 banning of slavery. The stories had little effect; for most Americans, "Dixie" was synonymous with the South.[68]
On April 10, 1865, one day after the surrender of General Robert E. Lee, Lincoln addressed a White House crowd:
I propose now closing up by requesting you play a certain piece of music or a tune. I thought "Dixie" one of the best tunes I ever heard ... I had heard that our adversaries over the way had attempted to appropriate it. I insisted yesterday that we had fairly captured it ... I presented the question to the Attorney-General, and he gave his opinion that it is our lawful prize ... I ask the Band to give us a good turn upon it.[69]
By that and other actions, Lincoln demonstrated his willingness to be conciliatory to the South and to restore the Union as soon as practicable.
"Dixie" reconstructed[edit]
"DIXIE'S LAND", 1904 postcard
"Dixie" slowly re-entered Northern repertoires, mostly in private performances.[70] New Yorkers resurrected stories about "Dixie" being a part of Manhattan, thus reclaiming the song for themselves. The New York Weekly wrote, "... no one ever heard of Dixie's land being other than Manhattan Island until recently, when it has been erroneously supposed to refer to the South, from its connection with pathetic negro allegory."[71] In 1888 the publishers of a Boston songbook included "Dixie" as a "patriotic song," and in 1895 the Confederate Veterans' Association suggested a celebration in honor of "Dixie" and Emmett in Washington as a bipartisan tribute. One of the planners noted that:
In this era of peace between the sections ... thousands of people from every portion of the United States will be only too glad to unite with the ex-confederates in the proposed demonstration, and already some of the leading men who fought on the Union side are enthusiastically in favor of carrying out the programme. Dixie is as lively and popular an air today as it ever was, and its reputation is not confined to the American continent ... [W]herever it is played by a big, strong band the auditors cannot help keeping time to the music.[72]
However, "Dixie" was still most strongly associated with the South. Northern singers and writers often used it for parody or as a quotation in other pieces to establish a person or setting as Southern.[70] For example, African Americans Eubie Blake and Noble Sissle quoted "Dixie" in the song "Bandana Days" for their 1921 musical Shuffle Along. In 1905 the United Daughters of the Confederacy mounted a campaign to acknowledge an official Southern version of the song (one that would purge it forever of its African American associations).[73] Although they obtained the support of the United Confederate Veterans and the United Sons of Confederate Veterans, Emmett's death the year before turned sentiments against the project, and the groups were ultimately unsuccessful in having any of the 22 entries universally adopted. The song was played at the dedication of Confederate monuments like Confederate Private Monument in Centennial Park, Nashville, Tennessee, on June 19, 1909.[74]
As African Americans entered minstrelsy, they exploited the song's popularity in the South by playing "Dixie" as they first arrived in a Southern town. According to Tom Fletcher, a black minstrel of the time, it tended to please those who might otherwise be antagonistic to the arrival of a group of black men.[75]
Photograph of Dan Emmett with "Author of 'Dixie!'" written across the bottom. The portrait belonged to Ben and Lew Snowden of Knox County, Ohio.
Still, "Dixie" was not rejected outright in the North. An article in the New York Tribune, c. 1908, said that "though 'Dixie' came to be looked upon as characteristically a song of the South, the hearts of the Northern people never grew cold to it. President Lincoln loved it, and to-day it is the most popular song in the country, irrespective of section."[76] As late as 1934, the music journal The Etude asserted that "the sectional sentiment attached to Dixie has been long forgotten; and today it is heard everywhere—North, East, South, West."[77]
"Dixie" had become Emmett's most enduring legacy. In the 1900 census of Knox County, Emmett's occupation is given as "author of Dixie."[78] The band at Emmett's funeral played "Dixie" as he was lowered into his grave. His grave marker, placed 20 years after his death, reads,
To the Memory of Daniel Decatur Emmett 1815—1904 Whose Song 'Dixie Land' inspired the courage and Devotion of the Southern People and now Thrills the Hearts of a Reunited Nation.[79]
Whistling "Dixie"[edit]
The song added a new term to the American lexicon: "Whistling 'Dixie'" is a slang expression meaning "[engaging] in unrealistically rosy fantasizing."[80] For example, "Don't just sit there whistling 'Dixie'!" is a reprimand against inaction, and "You ain't just whistling 'Dixie'!" indicates that the addressee is serious about the matter at hand.
Modern interpretations[edit]
Beginning in the Civil Rights Movement in the 1950s and 1960s, African Americans have frequently challenged "Dixie" as a racist relic of the Confederacy and a reminder of decades of white domination and segregation. This position was amplified when white opponents to civil rights began answering songs such as "We Shall Overcome" with the unofficial Confederate anthem.[81][82]
The earliest of these protests came from students of Southern universities, where "Dixie" was a staple of a number of marching bands.[83] Similar protests have since occurred at the University of Virginia, the Georgia Institute of Technology, and Tulane University. In 1968, the President of the University of Miami banned the song from its band's performances.[84]
The debate has since moved beyond student populations. Members of the 75th United States Army Band protested "Dixie" in 1971. In 1989, three black Georgia senators walked out when the Miss Georgia Sweet Potato Queen sang "Dixie" in the Georgia chamber. Meanwhile, many black musicologists have challenged the song's allegedly racist origins. For example, Sam Dennison writes that "Today, the performance of 'Dixie' still conjures visions of an unrepentant, militarily recalcitrant South, ready to reassert its aged theories of white supremacy at any moment.... This is why the playing of 'Dixie' still causes hostile reactions."[85]
On the other hand, for many Southerners, "Dixie," like the Confederate flag, is a symbol of Southern heritage and identity.[86] Southern schools maintain the "Dixie" fight song, often coupled with the Rebel mascot and the Confederate battle flag school symbol, despite protests.[87] Confederate heritage websites regularly feature the song,[88] and Confederate heritage groups routinely sing "Dixie" at their gatherings.[89] In his song "Dixie on My Mind," country musician Hank Williams, Jr., cites the absence of "Dixie" on Northern radio stations as an example of how Northern culture pales in comparison to its Southern counterpart.[90]
Others consider the song a part of the patriotic American repertoire on a par with "America the Beautiful" and "Yankee Doodle." For example, Chief Justice William Rehnquist regularly included "Dixie" in his annual sing-along for the 4th Circuit Judicial Conference in Virginia. However, its performance prompted some African American lawyers to avoid the event.[91]
Campaigns against "Dixie" and other Confederate symbols have helped create a sense of political ostracism and marginalization among working-class white Southerners.[92] Confederate heritage groups and literature proliferated in the late 1980s and early 1990s in response to criticism of the song.[93] Journalist Clint Johnson calls modern opposition to "Dixie" "an open, not-at-all-secret conspiracy"[94] and an example of political correctness. Johnson claims that modern versions of the song are not racist and simply reinforce that the South "extols family and tradition."[95] Other supporters, such as State Senator Glenn McConnell of South Carolina, have called the attempts to suppress the song cultural genocide.[96]
Performers who choose to sing "Dixie" today usually remove the black dialect and combine the song with other pieces. For example, Rene Marie's jazz version mixes "Dixie" with "Strange Fruit", a Billie Holiday song about a lynching. Mickey Newbury's "An American Trilogy" (often performed by Elvis Presley) combines "Dixie" with the Union's "Battle Hymn of the Republic" and the negro spiritual "All My Trials."[97] Bob Dylan also recorded a version of the song for the 2003 film Masked and Anonymous.[98]
As an instrumental piece, to countless people "Dixie" signifies nothing more than "Southern United States."[99] This interpretation has been reinforced through years of American popular culture. For example, the soundtracks of cartoons featuring Southern characters like Foghorn Leghorn often play "Dixie" to quickly set the scene. On the television series The Dukes of Hazzard, which takes place in a fictional county in Georgia, the musical car horn of the General Lee plays the initial twelve notes of the melody from the song. Sacks and Sacks argue that such apparently innocent associations only further serve to tie "Dixie" to its blackface origins, as these comedic programs are, like the minstrel show, "inelegant, parodic [and] dialect-ridden."[99] On the other hand, Poole sees the "Dixie" car horn, as used on the "General Lee" from the TV show and mimicked by white Southerners, as another example of the song's role as a symbol of "working-class revolt."[100]
However, in more serious fare, "Dixie" signals "Southern." Dixie is sampled in the film scores of a great many American feature films, often to signify Confederate troops and the American Civil War. For example, Max Steiner quotes the song in the opening scene of his late 1930s score to Gone with the Wind as a down-beat nostalgic instrumental to set the scene and Ken Burns makes use of instrumental versions in his 1990 Civil War documentary.
In a widely publicized incident, Senator Jesse Helms reportedly offended Carol Moseley Braun, the first black woman in the Senate and only black senator at the time, by whistling Dixie while in an elevator with her soon after the 1993 Senate vote on the Confederate flag insignia.[101]
In 1965 Jan & Dean sang a verse of the song on the track "Whisling Dixie" on their album, Filet of Soul.
In Netflix's House of Cards, Kevin Spacey's character Francis Underwood sings "Dixie" during a ceremony at his alma mater. His old school friends appear and they sing the first verse to cheering.
The Charlie Daniels Band guitarist Bruce Ray Brown performed a live instrumental with a slide guitar for the Freebird... The Movie soundtrack.
Ben Carson's official campaign theme song, "This Is America," references the song's leitmotif riff as it leads out of its chorus.[102]
Comedian John Bishop performed the song at the end of his live DVD Elvis Has Left The Building, whilst joined by the Liverpool Harmonic Gospel Choir.
Notes[edit]
Jump up ^ Nathan 248.
Jump up ^ Sacks and Sacks 158.
Jump up ^ Herbert, David (1996). Lincoln. Simon and Schuster. p. 580.
Jump up ^ "Lincoln Called For Dixie, from NY Times archives,7 February 1909" (PDF). The New York Times. February 7, 1909.
Jump up ^ Crawford 266.
^ Jump up to: a b c Warburton 230.
Jump up ^ Sacks and Sacks 194.
Jump up ^ Nathan 247.
Jump up ^ Nathan 249–50
Jump up ^ Nathan 259–60.
Jump up ^ Nathan 254.
Jump up ^ Nathan 260.
Jump up ^ "I Wish I Was in Dixie's Land, Written and Composed expressly for Bryant's Minstrels, arranged for the pianoforte by W.L. Hobbs," New York: Firth, Pond & Co., 1860, and New Orleans: P.P. Werlein, 1860. George B. Bruce and Dan Emmett, The Drummers and Fifers Guide (New York: Firth, Pond & Co., 1862). Nathan, op. cit., p. 260
Jump up ^ Wootton, Ada Bedell (1936). "Something New about Dixie." The Etude. Quoted in Sacks and Sacks 194.
Jump up ^ Spitzer and Walters 8.
Jump up ^ Nathan 245.
Jump up ^ Nathan 362–4.
Jump up ^ Nathan 260, 262.
Jump up ^ Nathan 262.
Jump up ^ Quoted in Nathan 252.
^ Jump up to: a b Quoted in Abel 36.
Jump up ^ Quoted in Sacks and Sacks 156.
Jump up ^ Hans, Nathan (1962). Dan Emmett and the Rise of Early Negro Minstrelsy. Norman, OK: University of Oklahoma Press. |access-date= requires |url= (help)
Jump up ^ Quoted in Abel 42.
Jump up ^ Quoted in Silber 51.
Jump up ^ Nathan 362–3.
Jump up ^ Cornelius 31.
Jump up ^ Quoted in Roland 218.
Jump up ^ Asimov, Chronology of the World, p. 376
Jump up ^ Sacks and Sacks 160.
Jump up ^ Sacks and Sacks 244.
Jump up ^ Clipping titled "Author of Dixie." Quoted in Sacks and Sacks 160.
Jump up ^ Clipping from "The War Song of the South." Quoted in Sacks and Sacks 160.
Jump up ^ Levin.
Jump up ^ July 1, 1904. "The Author of 'Dixie' Passes to Great Beyond". Mount Vernon Democratic Banner. Quoted in Sacks and Sacks 160.
^ Jump up to: a b Sacks and Sacks 161.
Jump up ^ Quoted in "The Author of Dixie," The New York Clipper. Quoted in Sacks and Sacks 244 note 19.
Jump up ^ Nathan 266.
Jump up ^ Abel 47.
Jump up ^ Abel 46. Sacks and Sacks give the same number of claimants but say "By the time of Emmett's death in 1904 ...".
Jump up ^ Sacks and Sacks 164.
Jump up ^ September 7, 1872, "Cat and Dog Fight." The New York Clipper. Quoted in Nathan 256.
Jump up ^ Quoted in Toll 42.
Jump up ^ Quoted in Nathan 257.
Jump up ^ Sacks and Sacks, p. 212 note 4, call $300 "a sum even then considered small"; Abel, p. 31, says that it was "a sizable amount of money in those days, especially for a song." Nathan, p. 269, does not comment on the fairness of the deal.
Jump up ^ McWhirter, Christian (March 31, 2012). "The Birth of 'Dixie'". New York Times. Retrieved April 28, 2012.
Jump up ^ Nathan 245 states that the date of first performance is often given incorrectly.
Jump up ^ Quoted in Abel 30.
Jump up ^ Knowles 97.
Jump up ^ August 10, 1861. The New York Clipper. Quoted in Nathan 269.
Jump up ^ Whall, W. B. (1913). Sea Songs and Shanties, p. 14. Quoted in Nathan 269.
Jump up ^ Circa 1861. Clipping from the New York Commercial Advertiser. Quoted in Nathan 271.
Jump up ^ Silber 50.
Jump up ^ Crawford 264-6.
^ Jump up to: a b Abel 32.
Jump up ^ Nathan 267 note 42.
Jump up ^ Quoted in Nathan 269.
Jump up ^ http://finding-aids.lib.unc.edu/00024/
Jump up ^ A monument in Montgomery, Alabama, on the site of the inauguration reads, "Dixie was played as a band arrangement for the first time on this occasion". Quoted in Sacks and Sacks 4.
Jump up ^ Letter from Col. T. Allston Brown to T. C. De Leon. Published in De Leon, Belles, Beaux, and Brains and quoted in Nathan 275.
Jump up ^ Hotze, Henry (5 May 1861). "Three Months in the Confederate Army: The Tune of Dixie." The Index. Quoted in Harwell, Confederate Music, 43; quoted in turn in Nathan 272.
Jump up ^ Abel 35.
Jump up ^ Cornelius 37.
Jump up ^ Postscript to the poem "War." Quoted in Harwell, Richard B. (1950). Confederate Music, p. 50. Quoted in turn in Nathan p. 256.
Jump up ^ Cornelius 36.
Jump up ^ Galbreath, Charles Burleigh (October 1904). "Song Writers of Ohio," Ohio Archaeological Quarterly, 13: 533-34. Quoted in Sacks and Sacks 156.
Jump up ^ Cornelius 34.
Jump up ^ Introduction to sheet music for "I'm Going Home to Dixie." Quoted in Abel 39.
Jump up ^ Sandburg, Carl. (1939) Abraham Lincoln, The War Years, vol. IV, 207-8. Quoted in Nathan 275.
^ Jump up to: a b Spitzer and Walters 9.
Jump up ^ 1871 edition of the New York Weekly, quoted in Abel 43.
Jump up ^ Clipping from "The Author of Dixie," c. 1895. Quoted in Sacks and Sacks 156.
Jump up ^ Abel 49.
Jump up ^ "TRIBUTE PAID RANK AND FILE". The Tennessean. June 20, 1909. pp. 1–2. Retrieved September 6, 2017 – via Newspapers.com. (Registration required (help)).
Jump up ^ Watkins 101.
Jump up ^ Circa 1908, "How 'Dan' Emmett's Song Became the War Song of the South," New York Tribune. Quoted in Sacks and Sacks 156.
Jump up ^ Smith, Will (September 1934). "The Story of Dixie and Its Picturesque Composer." Etude 52: 524. Quoted in Sacks and Sacks 156.
Jump up ^ Quoted in Sacks and Sacks 223 note 3.
Jump up ^ Quoted in Abel 46.
Jump up ^ 2000. American Heritage Dictionary of the English Language, 4th ed.
Jump up ^ Neely-Chandler, Thomasina, quoted in Johnston.
Jump up ^ Coski 105.
Jump up ^ Sacks and Sacks 155.
Jump up ^ "Bold Beginnings, Bright Tomorrows". Miami Magazine. Fall 2001. Archived from the original on May 22, 2010. Retrieved November 30, 2009.
Jump up ^ Dennison, Sam (1982). Scandalize My Name: Black Imagery in American Popular Music, p. 188. Quoted in Sacks and Sacks 4.
Jump up ^ Abel 51.
Jump up ^ Coski 208.
Jump up ^ McPherson 107.
Jump up ^ Prince 1.
Jump up ^ McLaurin 26.
Jump up ^ Timberg.
Jump up ^ Poole 124.
Jump up ^ Coski 194.
Jump up ^ Johnson 1.
Jump up ^ Johnson 50.
Jump up ^ Quoted in Prince 152.
Jump up ^ Johnston.
Jump up ^ "Masked and Anonymous - Bob Dylan - Songs, Reviews, Credits - AllMusic".
^ Jump up to: a b Sacks and Sacks 159.
Jump up ^ Poole 140.
Jump up ^ Reaves, Jessica (October 27, 1999). "Is Jesse Helms Whistling 'Dixie' Over Nomination?". Time. Retrieved July 8, 2008.
Jump up ^ "This Is America". November 2015. Archived from the original on December 8, 2015. Retrieved November 8, 2015.
References[edit]
Abel, E. Lawrence (2000). Singing the New Nation: How Music Shaped the Confederacy, 1861–1865. Mechanicsburg, PA: Stackpole Books. ISBN 978-0-8117-0228-7.
Cornelius, Steven H. (2004). Music of the Civil War Era. Westport, Connecticut: Greenwood Press. ISBN 0-313-32081-0.
Branham, Robert James, and Stephen J. Hartnett (2002). Sweet Freedom's Song: "My Country 'Tis of Thee" and Democracy in America. Oxford University Press. ISBN 0-19-513741-8.
Coski, John M. (2005). The Confederate Battle Flag: America's Most Embattled Emblem. Cambridge, Massachusetts: The Belknap Press of Harvard University Press. ISBN 0-674-01983-0.
Crawford, Richard (2001). America's Musical Life: A History. New York: W. W. Norton & Company, Inc. ISBN 0-393-32726-4.
Johnson, Clint (2007). The Politically Incorrect Guide to the South (and Why It Will Rise Again). Washington, D.C.: Regnery Publishing Inc. ISBN 1-59698-500-3.
Johnston, Cynthia (November 11, 2002). "'Dixie'". Present at the Creation series on NPR. Accessed December 1, 2005.
Kane, Dr. G. A. (March 19, 1893). "'Dixie': Dan Emmett its Author and New York the Place of Its Production". Richmond Dispatch. Accessed December 1, 2005.
Knowles, Mark (2002). Tap Roots: The Early History of Tap Dancing. Jefferson, North Carolina: McFarland & Company, Inc., Publishers. ISBN 0-7864-1267-4.
Levin, Steve (September 4, 1998). "'Dixie' now too symbolic of old South, not of origins". Pittsburgh Post-Gazette. Accessed December 1, 2005.
Matthews, Brander (1888; reprinted 2007). Pen and Ink: Papers on Subjects of More or Less Importance. Kessinger Publishing, LLC. ISBN 1-4304-7008-9.
McDaniel, Alex (2009). "No love for 'Dixie': Chancellor pulls band pregame piece after chanting continues[permanent dead link]". The Daily Mississippian. Accessed March 9, 2010.
McLaurin, Melton A. (1992). "Songs of the South: The Changing Image of the South in Country Music", You Wrote My Life: Lyrical Themes in Country Music. Taylor & Francis. ISBN 2-88124-548-X.
McPherson, Tara (2003). Reconstructing Dixie: Race, Gender, and Nostalgia in the Imagined South. Durham, North Carolina: Duke University Press. ISBN 0-8223-3040-7.
McWhirter, Christian. "The Birth of 'Dixie.'" New York Times, online edition, March 31, 2012.
Nathan, Hans (1962). Dan Emmett and the Rise of Early Negro Minstrelsy. Norman, Oklahoma: University of Oklahoma Press.
Poole, W. Scott (2005). "Lincoln in Hell: Class and Confederate Symbols in the American South", National Symbols, Fractured Identities: Contesting the National Narrative. Middlebury, Vermont: Middlebury College Press. ISBN 1-58465-437-6.
Prince, K. Michael (2004). Rally 'Round the Flag, Boys!: South Carolina and the Confederate Flag. The University of South Carolina Press. ISBN 1-57003-527-X.
Roland, Charles P. (2004). An American Iliad: The Story of the Civil War, 2nd ed. The University Press of Kentucky. ISBN 0-8131-2300-3.
Sacks, Howard L., and Sacks, Judith (1993). Way up North in Dixie: A Black Family's Claim to the Confederate Anthem. Washington: Smithsonian Institution Press. ISBN 0-252-07160-3.
Silber, Irwin (1960; reprinted 1995). Songs of the Civil War. Mineola, New York: Dover Publications. ISBN 0-486-28438-7.
Spitzer, John, and Walters, Ronald G. "Making Sense of an American Popular Song". History Matters: The U.S. Survey on the Web. Accessed December 18, 2005.
Timberg, Craig (July 22, 1999). "Rehnquist's Inclusion of 'Dixie' Strikes a Sour Note". Washington Post. Accessed December 1, 2005.
Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press. ISBN 0-19-502172-X.
Warburton, Thomas (2002). "Dixie", The Companion to Southern Literature: Themes, Genres, Places, People, Movements, and Motifs. Baton Route: Louisiana State University Press. ISBN 0-8071-2692-6.
Watkins, Mel (1994). On the Real Side: Laughing, Lying, and Signifying—The Underground Tradition of African-American Humor that Transformed American Culture, from Slavery to Richard Pryor. New York: Simon & Schuster. ISBN 1-55652-351-3.
Yoste, Elizabeth (January 30, 2002). "'Dixie' sees less play at Tad Pad". The Daily Mississippian. Accessed October 16, 2007.
External links[edit]
Wikisource has original text related to this article:
Dixie's Land
Wikimedia Commons has media related to Dixie (song).
Example version of "Dixie's Land" (MIDI)
Sheet music for "Dixie's Land" from Historic American Sheet Music at Duke University.
Lincoln and Liberty
The short film A NATION SINGS (1963) is available for free download at the Internet Archive
[show]
v
t
e
Duane Eddy
Studio albums
Have 'Twangy' Guitar Will Travel
Especially for You
Road Trip
Singles
"Rebel-'Rouser"
"Ramrod"
"Cannonball"
"Peter Gunn"
"Yep!"
"Forty Miles of Bad Road"
"Some Kind-A Earthquake"
"Bonnie Came Back"
"Shazam!"
"Because They're Young"
"Kommotion"
"Pepe"
"Theme from Dixie"
"Ring of Fire"
"The Ballad of Paladin"
"(Dance With The) Guitar Man"
"Play Me Like You Play Your Guitar"
Cover Songs
"Along the Navajo Trail"
"Anytime"
"Detour"
"I Almost Lost My Mind"
"Just Because"
"The Lonesome Road"
"Lover"
"Trouble in Mind"
"Tuxedo Junction"
Film Appearances
Because They're Young
A Thunder of Drums
The Wild Westerners
The Savage Seven
Kona Coast
Related articles
Jamie Records
RCA Victor
Roulette Records
Corning, New York
Retrieved from "https://en.wikipedia.org/w/index.php?title=Dixie_(song)&oldid=816091082"
Categories:
1859 songs
American folk songs
North American anthems
Billy Murray (singer) songs
Jan and Dean songs
Blackface minstrel songs
Burl Ives songs
American military marches
Songs of the American Civil War
Hidden categories:
Pages using citations with accessdate and no URL
Pages with login required references or sources
Use mdy dates from May 2016
Wikipedia references cleanup from August 2015
All articles needing references cleanup
Articles covered by WikiProject Wikify from August 2015
All articles covered by WikiProject Wikify
Articles with hAudio microformats
All articles with dead external links
Articles with dead external links from December 2016
Articles with permanently dead external links
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
Asturianu
Català
Deutsch
Eesti
Español
Euskara
Français
Galego
Italiano
עברית
ქართული
Norsk
Polski
Português
Русский
Svenska
中文
Edit links
This page was last edited on 19 December 2017, at 05:44.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

value: b

value: em

value: span

value: small

values: plainlinks metadata ambox ambox-style ambox-citation_style

values: position: absolute; top: 0px; left: 110px; right: 0px; bottom: 0px; height: 0px; width: 0px;

values: left: 50%; top: 50%; margin-left: -35px; margin-top: -27.5px;

values:
mwPlayerContainer k-player videoHolder
width: 220px; position: relative;

values:
hlist hlist-separated
font-size: smaller

values:
/wiki/Civil_Rights_Movement
mw-redirect
Civil Rights Movement

values:
/wiki/Verse_(popular_music)
mw-redirect
Verse (popular music)

values:
/wiki/Duple_meter
mw-redirect
Duple meter

values:
/wiki/Music_of_England
mw-redirect
Music of England

values: Bow Wow Wow (song) (page does not exist)

values: width:220px width: 220px; position: relative;

values: File:Dixie 2nd South Carolina String Band.ogg

values:
/wiki/Frances_J._Crosby
mw-redirect
Frances J. Crosby

values:
/wiki/The_New_York_Clipper
mw-redirect
The New York Clipper

values:
/wiki/Washington_Post
mw-redirect
Washington Post

values:
/wiki/John_Church_Company
mw-redirect
John Church Company

values:
/wiki/Cincinnati,_Ohio
mw-redirect
Cincinnati, Ohio

values: Edit section: Origin of the terms "Dixie" and "Dixieland"

values:
/wiki/Ripley%27s_Believe_It_or_Not
mw-redirect
Ripley's Believe It or Not

values: Edit section: Popularity through the Civil War

values:
/wiki/Mechanics%27_Hall,_New_York_City
mw-redirect
Mechanics' Hall, New York City

values: Rumsey and Newcomb Minstrels (page does not exist)

values:
/wiki/New_Orleans,_Louisiana
mw-redirect
New Orleans, Louisiana

values:
/wiki/Philip_Werlein
mw-redirect
Philip Werlein

values: Herman Frank Arnold (page does not exist)

values:
/wiki/Band_(music)
mw-redirect
Band (music)

values:
/wiki/Fife_(musical_instrument)
mw-redirect
Fife (musical instrument)

values:
/wiki/Boston,_Massachusetts
mw-redirect
Boston, Massachusetts

values:
/wiki/African_American
mw-redirect
African American

values:
/wiki/New_York_Tribune
mw-redirect
New York Tribune

values:
/wiki/Confederate_flag
mw-redirect
Confederate flag

values:
/wiki/Hank_Williams,_Jr.
mw-redirect
Hank Williams, Jr.

values:
/wiki/Glenn_McConnell
mw-redirect
Glenn McConnell

values:
/wiki/American_popular_culture
mw-redirect
American popular culture

values:
/wiki/The_Civil_War_(documentary)
mw-redirect
The Civil War (documentary)

values:
/wiki/Jan_%26_Dean
mw-redirect
Jan & Dean

values:
/wiki/Charlie_Daniels_Band
mw-redirect
Charlie Daniels Band

values:
/wiki/John_Bishop_(comedian)
mw-redirect
John Bishop (comedian)

values:
nofollow
http://finding-aids.lib.unc.edu/00024/
external free

values: The site requires registration to access this page.

values:
nofollow
external text
https://www.bencarson.com/song

values: -moz-column-width: 20em; -webkit-column-width: 20em; column-width: 20em; list-style-type: decimal;

values: International Standard Book Number (identifier)

values:
Duane_Eddy
fn
font-size:114%;margin:0 4em

values:
row
navbox-group
width:1%;background: #EEEEEE;

values: Just Because (Nelstone's Hawaiians song)

values: nowraplinks vcard collapsible collapsed navbox-inner

values: Category:Songs of the American Civil War

values: Category:Pages using citations with accessdate and no URL

values: Category:Pages with login required references or sources

values: Category:Wikipedia references cleanup from August 2015

values: Category:All articles needing references cleanup

values: Category:Articles covered by WikiProject Wikify from August 2015

values: Category:All articles covered by WikiProject Wikify

values: Category:Articles with hAudio microformats

values: Category:All articles with dead external links

values: Category:Articles with dead external links from December 2016

values: Category:Articles with permanently dead external links

values: Discussion about edits from this IP address [ctrl-alt-n]

values:
/wiki/Dixie_(song)
View the content page [ctrl-alt-c]
c

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values:
uls-settings-trigger
Language settings
0
button
true

values: דיקסי (שיר) – Hebrew

values: დიქსი (სიმღერა) – Georgian

values: Дикси (песня) – Russian

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Dixie_song rootpage-Dixie_song skin-vector action-view


text:
Digital-to-analog converter
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
For digital television converter boxes, see digital television adapter.
"D2A" redirects here. For the D2A dive bomber, see Aichi D1A.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)
8-channel Cirrus Logic CS4382 digital-to-analog converter as used in a sound card.
In electronics, a digital-to-analog converter (DAC, D/A, D2A, or D-to-A) is a system that converts a digital signal into an analog signal. An analog-to-digital converter (ADC) performs the reverse function.
There are several DAC architectures; the suitability of a DAC for a particular application is determined by figures of merit including: resolution, maximum sampling frequency and others. Digital-to-analog conversion can degrade a signal, so a DAC should be specified that has insignificant errors in terms of the application.
DACs are commonly used in music players to convert digital data streams into analog audio signals. They are also used in televisions and mobile phones to convert digital video data into analog video signals which connect to the screen drivers to display monochrome or color images. These two applications use DACs at opposite ends of the frequency/resolution trade-off. The audio DAC is a low-frequency, high-resolution type while the video DAC is a high-frequency low- to medium-resolution type.
Due to the complexity and the need for precisely matched components, all but the most specialized DACs are implemented as integrated circuits (ICs). Discrete DACs would typically be extremely high speed low resolution power hungry types, as used in military radar systems. Very high speed test equipment, especially sampling oscilloscopes, may also use discrete DACs.
Contents
1 Overview
2 Applications
2.1 Audio
2.2 Video
2.3 Mechanical
3 Types
4 Performance
5 Figures of merit
6 See also
7 References
8 Further reading
9 External links
Overview[edit]
Ideally sampled signal.
Piecewise constant output of a conventional DAC lacking a reconstruction filter. In a practical DAC, a filter or the finite bandwidth of the device smooths out the step response into a continuous curve.
A DAC converts an abstract finite-precision number (usually a fixed-point binary number) into a physical quantity (e.g., a voltage or a pressure). In particular, DACs are often used to convert finite-precision time series data to a continually varying physical signal.
An ideal DAC converts the abstract numbers into a conceptual sequence of impulses that are then processed by a reconstruction filter using some form of interpolation to fill in data between the impulses. A conventional practical DAC converts the numbers into a piecewise constant function made up of a sequence of rectangular functions that is modeled with the zero-order hold. Other DAC methods (such as those based on delta-sigma modulation) produce a pulse-density modulated output that can be similarly filtered to produce a smoothly varying signal.
As per the Nyquist–Shannon sampling theorem, a DAC can reconstruct the original signal from the sampled data provided that its bandwidth meets certain requirements (e.g., a baseband signal with bandwidth less than the Nyquist frequency). Digital sampling introduces quantization error that manifests as low-level noise in the reconstructed signal.
Applications[edit]
A simplified functional diagram of an 8-bit DAC
DACs and ADCs are part of an enabling technology that has contributed greatly to the digital revolution. To illustrate, consider a typical long-distance telephone call. The caller's voice is converted into an analog electrical signal by a microphone, then the analog signal is converted to a digital stream by an ADC. The digital stream is then divided into network packets where it may be sent along with other digital data, not necessarily audio. The packets are then received at the destination, but each packet may take a completely different route and may not even arrive at the destination in the correct time order. The digital voice data is then extracted from the packets and assembled into a digital data stream. A DAC converts this back into an analog electrical signal, which drives an audio amplifier, which in turn drives a loudspeaker, which finally produces sound.
Audio[edit]
Most modern audio signals are stored in digital form (for example MP3s and CDs) and, in order to be heard through speakers, they must be converted into an analog signal. DACs are therefore found in CD players, digital music players, and PC sound cards.
Specialist standalone DACs can also be found in high-end hi-fi systems. These normally take the digital output of a compatible CD player or dedicated transport (which is basically a CD player with no internal DAC) and convert the signal into an analog line-level output that can then be fed into an amplifier to drive speakers.
Similar digital-to-analog converters can be found in digital speakers such as USB speakers, and in sound cards.
In voice over IP applications, the source must first be digitized for transmission, so it undergoes conversion via an ADC, and is then reconstructed into analog using a DAC on the receiving party's end.
Top-loading CD player and external digital-to-analog converter.
Video[edit]
Video sampling tends to work on a completely different scale altogether thanks to the highly nonlinear response both of cathode ray tubes (for which the vast majority of digital video foundation work was targeted) and the human eye, using a "gamma curve" to provide an appearance of evenly distributed brightness steps across the display's full dynamic range - hence the need to use RAMDACs in computer video applications with deep enough colour resolution to make engineering a hardcoded value into the DAC for each output level of each channel impractical (e.g. an Atari ST or Sega Genesis would require 24 such values; a 24-bit video card would need 768...). Given this inherent distortion, it is not unusual for a television or video projector to truthfully claim a linear contrast ratio (difference between darkest and brightest output levels) of 1000:1 or greater, equivalent to 10 bits of audio precision even though it may only accept signals with 8-bit precision and use an LCD panel that only represents 6 or 7 bits per channel.
Video signals from a digital source, such as a computer, must be converted to analog form if they are to be displayed on an analog monitor. As of 2007, analog inputs were more commonly used than digital, but this changed as flat panel displays with DVI and/or HDMI connections became more widespread.[citation needed] A video DAC is, however, incorporated in any digital video player with analog outputs. The DAC is usually integrated with some memory (RAM), which contains conversion tables for gamma correction, contrast and brightness, to make a device called a RAMDAC.
A device that is distantly related to the DAC is the digitally controlled potentiometer, used to control an analog signal digitally.
Mechanical[edit]
Play media
IBM Selectric typewriter uses a mechanical digital-to-analog converter to control its typeball.
A one-bit mechanical actuator assumes two positions: one when on, another when off. The motion of several one-bit actuators can be combined and weighted with a whiffletree mechanism to produce finer steps. The IBM Selectric typewriter uses such a system.[1]
Types[edit]
The most common types of electronic DACs are:[2]
The pulse-width modulator where a stable current or voltage is switched into a low-pass analog filter with a duration determined by the digital input code. This technique is often used for electric motor speed control and other applications.
Oversampling DACs or interpolating DACs such as the delta-sigma DAC, use a pulse density conversion technique. The oversampling technique allows for the use of a lower resolution DAC internally. A simple 1-bit DAC is often chosen because the oversampled result is inherently linear. The DAC is driven with a pulse-density modulated signal, created with the use of a low-pass filter, step nonlinearity (the actual 1-bit DAC), and negative feedback loop, in a technique called delta-sigma modulation. This results in an effective high-pass filter acting on the quantization noise, thus steering this noise out of the low frequencies of interest into the megahertz frequencies of little interest, in a process called noise shaping. The quantization noise at these high frequencies is removed or greatly attenuated by use of an analog low-pass filter at the output (sometimes a simple RC low-pass circuit is sufficient). Most very high resolution DACs (greater than 16 bits) are of this type due to its high linearity and low cost. Higher oversampling rates can relax the specifications of the output low-pass filter and enable further suppression of quantization noise. Speeds of greater than 100 thousand samples per second (for example, 192 kHz) and resolutions of 24 bits are attainable with delta-sigma DACs. A short comparison with pulse-width modulation shows that a 1-bit DAC with a simple first-order integrator would have to run at 3 THz (which is physically unrealizable) to achieve 24 meaningful bits of resolution, requiring a higher-order low-pass filter in the noise-shaping loop. A single integrator is a low-pass filter with a frequency response inversely proportional to frequency and using one such integrator in the noise-shaping loop is a first order delta-sigma modulator. Multiple higher order topologies (such as MASH) are used to achieve higher degrees of noise-shaping with a stable topology.
The binary-weighted DAC, which contains individual electrical components for each bit of the DAC connected to a summing point. This summing point can a summing op-amp. Each input resistor in the summing op-amp would have values powers of two with most current at MSB since they have the same resistor voltage source.[3] These precise voltages or currents sum to the correct output value. This is one of the fastest conversion methods but suffers from poor accuracy because of the high precision required for each individual voltage or current. Such high-precision components are expensive, so this type of converter is usually limited to 8-bit resolution or less.[citation needed]
Switched resistor DAC contains a parallel resistor network. Individual resistors are enabled or bypassed in the network based on the digital input.
Switched current source DAC, from which different current sources are selected based on the digital input.
Switched capacitor DAC contains a parallel capacitor network. Individual capacitors are connected or disconnected with switches based on the input.
The R-2R ladder DAC which is a binary-weighted DAC that uses a repeating cascaded structure of resistor values R and 2R. This improves the precision due to the relative ease of producing equal valued-matched resistors (or current sources).
The Successive-Approximation or Cyclic DAC,[4] which successively constructs the output during each cycle. Individual bits of the digital input are processed each cycle until the entire input is accounted for.
The thermometer-coded DAC, which contains an equal resistor or current-source segment for each possible value of DAC output. An 8-bit thermometer DAC would have 255 segments, and a 16-bit thermometer DAC would have 65,535 segments. This is perhaps the fastest and highest precision DAC architecture but at the expense of high cost. Conversion speeds of >1 billion samples per second have been reached with this type of DAC.
Hybrid DACs, which use a combination of the above techniques in a single converter. Most DAC integrated circuits are of this type due to the difficulty of getting low cost, high speed and high precision in one device.
The segmented DAC, which combines the thermometer-coded principle for the most significant bits and the binary-weighted principle for the least significant bits. In this way, a compromise is obtained between precision (by the use of the thermometer-coded principle) and number of resistors or current sources (by the use of the binary-weighted principle). The full binary-weighted design means 0% segmentation, the full thermometer-coded design means 100% segmentation.
Most DACs, shown earlier in this list, rely on a constant reference voltage to create their output value. Alternatively, a multiplying DAC[5] takes a variable input voltage for their conversion. This puts additional design constraints on the bandwidth of the conversion circuit.
Performance[edit]
DACs are very important to system performance. The most important characteristics of these devices are:[citation needed]
Resolution
The number of possible output levels the DAC is designed to reproduce. This is usually stated as the number of bits it uses, which is the base two logarithm of the number of levels. For instance a 1 bit DAC is designed to reproduce 2 (21) levels while an 8 bit DAC is designed for 256 (28) levels. Resolution is related to the effective number of bits which is a measurement of the actual resolution attained by the DAC. Resolution determines color depth in video applications and audio bit depth in audio applications.
Maximum sampling rate
A measurement of the maximum speed at which the DACs circuitry can operate and still produce the correct output. As stated above, the Nyquist–Shannon sampling theorem defines a relationship between this and the bandwidth of the sampled signal.
Monotonicity
The ability of a DAC's analog output to move only in the direction that the digital input moves (i.e., if the input increases, the output doesn't dip before asserting the correct output.) This characteristic is very important for DACs used as a low frequency signal source or as a digitally programmable trim element.
Total harmonic distortion and noise (THD+N)
A measurement of the distortion and noise introduced to the signal by the DAC. It is expressed as a percentage of the total power of unwanted harmonic distortion and noise that accompany the desired signal. This is a very important DAC characteristic for dynamic and small signal DAC applications.
Dynamic range
A measurement of the difference between the largest and smallest signals the DAC can reproduce expressed in decibels. This is usually related to resolution and noise floor.
Other measurements, such as phase distortion and jitter, can also be very important for some applications, some of which (e.g. wireless data transmission, composite video) may even rely on accurate production of phase-adjusted signals.
Linear PCM audio sampling usually works on the basis of each bit of resolution being equivalent to 6 decibels of amplitude (a 2x increase in volume or precision).
Non-linear PCM encodings (A-law / μ-law, ADPCM, NICAM) attempt to improve their effective dynamic ranges by a variety of methods - logarithmic step sizes between the output signal strengths represented by each data bit (trading greater quantisation distortion of loud signals for better performance of quiet signals)
Figures of merit[edit]
Static performance:
Differential nonlinearity (DNL) shows how much two adjacent code analog values deviate from the ideal 1 LSB step.[6]
Integral nonlinearity (INL) shows how much the DAC transfer characteristic deviates from an ideal one. That is, the ideal characteristic is usually a straight line; INL shows how much the actual voltage at a given code value differs from that line, in LSBs (1 LSB steps).
Gain
Offset
Noise is ultimately limited by the thermal noise generated by passive components such as resistors. For audio applications and in room temperatures, such noise is usually a little less than 1 μV (microvolt) of white noise. This limits performance to less than 20~21 bits even in 24-bit DACs.
Frequency domain performance
Spurious-free dynamic range (SFDR) indicates in dB the ratio between the powers of the converted main signal and the greatest undesired spur.
Signal-to-noise and distortion ratio (SNDR) indicates in dB the ratio between the powers of the converted main signal and the sum of the noise and the generated harmonic spurs
i-th harmonic distortion (HDi) indicates the power of the i-th harmonic of the converted main signal
Total harmonic distortion (THD) is the sum of the powers of all HDi
If the maximum DNL error is less than 1 LSB, then the D/A converter is guaranteed to be monotonic. However, many monotonic converters may have a maximum DNL greater than 1 LSB.
Time domain performance:
Glitch impulse area (glitch energy)
Response uncertainty
Time nonlinearity (TNL)
See also[edit]
Integral linearity
I²S
Modem
RAMDAC
References[edit]
Jump up ^ Joachim Duebbers, IBM Selectric Typewriter Learning Program 10-3A: Input Archived 2016-03-16 at the Wayback Machine.
Jump up ^ "Analog-Digital Conversion" (PDF). Data converter Architectures. Analog Devices. Archived (PDF) from the original on 2017-08-30. Retrieved 2017-08-30.
Jump up ^ "Binary Weighted Resistor DAC". Electronics Tutorial. Retrieved 2018-09-25.
Jump up ^ "Archived copy" (PDF). Archived (PDF) from the original on 2017-08-30. Retrieved 2017-08-30. CS1 maint: Archived copy as title (link) p. 3.29
Jump up ^ "Multiplying DACs, flexible building blocks" (PDF). Analog Devices inc. 2010. Retrieved 29 March 2012.
Jump up ^ ADC and DAC Glossary - Maxim Archived 2007-03-08 at the Wayback Machine.
Further reading[edit]
Kester, Walt, The Data Conversion Handbook, ISBN 0-7506-7841-0
S. Norsworthy, Richard Schreier, Gabor C. Temes, Delta-Sigma Data Converters. ISBN 0-7803-1045-4.
Mingliang Liu, Demystifying Switched-Capacitor Circuits. ISBN 0-7506-7907-7.
Behzad Razavi, Principles of Data Conversion System Design. ISBN 0-7803-1093-4.
Phillip E. Allen, Douglas R. Holberg, CMOS Analog Circuit Design. ISBN 0-19-511644-5.
Robert F. Coughlin, Frederick F. Driscoll, Operational Amplifiers and Linear Integrated Circuits. ISBN 0-13-014991-8.
A Anand Kumar, Fundamentals of Digital Circuits. ISBN 81-203-1745-9, ISBN 978-81-203-1745-1.
Ndjountche Tertulien, "CMOS Analog Integrated Circuits: High-Speed and Power-Efficient Design". ISBN 978-1-4398-5491-4.
External links[edit]
ADC and DAC Glossary
Authority control
GND: 4128360-0
Retrieved from "https://en.wikipedia.org/w/index.php?title=Digital-to-analog_converter&oldid=861471233"
Categories:
Digital signal processing
Electronic circuits
Hidden categories:
Webarchive template wayback links
CS1 maint: Archived copy as title
Articles needing additional references from August 2016
All articles needing additional references
All articles with unsourced statements
Articles with unsourced statements from October 2011
Articles with unsourced statements from February 2012
Articles with unsourced statements from August 2016
Wikipedia articles with GND identifiers
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
العربية
Беларуская
Български
Čeština
Dansk
Deutsch
Eesti
Ελληνικά
Español
فارسی
Français
Gaeilge
한국어
हिन्दी
Bahasa Indonesia
Italiano
עברית
Lëtzebuergesch
മലയാളം
Bahasa Melayu
Nederlands
日本語
Norsk
Norsk nynorsk
Олык марий
Piemontèis
Polski
Português
Русский
Simple English
Slovenčina
Suomi
Svenska
Türkçe
Українська
Tiếng Việt
中文
28 more
Edit links
This page was last edited on 27 September 2018, at 17:33 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

key: html

type: local

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

attrs: class href

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

attrs: href title

attrs: role class

values:
note
hatnote navigation-not-searchable

value: img

attrs: alt src width height srcset data-file-width data-file-height

attrs: href class

value: td

values: Help:Introduction to referencing with Wiki Markup/1

value: i

values: plainlinks metadata ambox ambox-content ambox-Refimprove

attrs: alt src width height class srcset data-file-width data-file-height

values:
/wiki/Figures_of_merit
mw-redirect
Figures of merit

values:
/wiki/Resolution_(audio)
mw-redirect
Resolution (audio)

values:
/wiki/Sampling_frequency
mw-redirect
Sampling frequency

values:
/wiki/Digital_audio_player
mw-redirect
Digital audio player

values:
/wiki/Electronic_components
mw-redirect
Electronic components

values:
/wiki/Integrated_circuits
mw-redirect
Integrated circuits

values: checkbox button toctogglecheckbox toctogglecheckbox display:none

values:
/wiki/Abstract_object
mw-redirect
Abstract object

values:
/wiki/Piecewise_constant_function
mw-redirect
Piecewise constant function

values:
/wiki/Quantization_error
mw-redirect
Quantization error

values:
/wiki/Digital_revolution
mw-redirect
Digital revolution

values:
/wiki/Audio_amplifier
mw-redirect
Audio amplifier

values:
/wiki/Digital_music_player
mw-redirect
Digital music player

values:
/wiki/Digital_speakers
mw-redirect
Digital speakers

values:
/wiki/Universal_Serial_Bus
mw-redirect
Universal Serial Bus

values: This claim needs references to reliable sources. (October 2011)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values:
/wiki/Computer_storage
mw-redirect
Computer storage

values: <video id="mwe_player_1" poster="//upload.wikimedia.org/wikipedia/commons/thumb/6/66/Selectric.ogv/854px--Selectric.ogv.jpg" controls="" preload="none" autoplay="" style="width:854px;height:480px" class="kskin" data-durationhint="184.85133333333" data-startoffset="0" data-mwtitle="Selectric.ogv" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.480p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-title="SD VP9 (480P)" data-shorttitle="VP9 480P" data-transcodekey="480p.vp9.webm" data-width="854" data-height="480" data-bandwidth="487504" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.720p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-title="HD VP9 (720P)" data-shorttitle="VP9 720P" data-transcodekey="720p.vp9.webm" data-width="1280" data-height="720" data-bandwidth="842864" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.720p.webm" type="video/webm; codecs="vp8, vorbis"" data-title="HD WebM (720P)" data-shorttitle="WebM 720P" data-transcodekey="720p.webm" data-width="1280" data-height="720" data-bandwidth="971472" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.480p.webm" type="video/webm; codecs="vp8, vorbis"" data-title="SD WebM (480P)" data-shorttitle="WebM 480P" data-transcodekey="480p.webm" data-width="854" data-height="480" data-bandwidth="1102224" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/6/66/Selectric.ogv" type="video/ogg; codecs="theora, vorbis"" data-title="Original Ogg file, 1,280 × 720 (1.38 Mbps)" data-shorttitle="Ogg source" data-width="1280" data-height="720" data-bandwidth="1379986" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.120p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-title="Lowest bandwidth VP9 (120P)" data-shorttitle="VP9 120P" data-transcodekey="120p.vp9.webm" data-width="214" data-height="120" data-bandwidth="152680" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.160p.webm" type="video/webm; codecs="vp8, vorbis"" data-title="Low bandwidth WebM (160P)" data-shorttitle="WebM 160P" data-transcodekey="160p.webm" data-width="284" data-height="160" data-bandwidth="215024" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.180p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-title="Low bandwidth VP9 (180P)" data-shorttitle="VP9 180P" data-transcodekey="180p.vp9.webm" data-width="320" data-height="180" data-bandwidth="193896" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.240p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-title="Small VP9 (240P)" data-shorttitle="VP9 240P" data-transcodekey="240p.vp9.webm" data-width="426" data-height="240" data-bandwidth="228256" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.240p.webm" type="video/webm; codecs="vp8, vorbis"" data-title="Small WebM (240P)" data-shorttitle="WebM 240P" data-transcodekey="240p.webm" data-width="426" data-height="240" data-bandwidth="330296" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.360p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-title="VP9 (360P)" data-shorttitle="VP9 360P" data-transcodekey="360p.vp9.webm" data-width="640" data-height="360" data-bandwidth="320328" data-framerate="29.97002997003"/><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Selectric.ogv/Selectric.ogv.360p.webm" type="video/webm; codecs="vp8, vorbis"" data-title="WebM (360P)" data-shorttitle="WebM 360P" data-transcodekey="360p.webm" data-width="640" data-height="360" data-bandwidth="584992" data-framerate="29.97002997003"/></video>

values:
/wiki/IBM_Selectric
mw-redirect
IBM Selectric

values:
/wiki/Current_(electricity)
mw-redirect
Current (electricity)

values:
/wiki/Analog_filter
mw-redirect
Analog filter

values:
/wiki/Quantization_noise
mw-redirect
Quantization noise

values:
/wiki/MASH_(modulator)
mw-redirect
MASH (modulator)

values:
/wiki/Most-significant_bit
mw-redirect
Most-significant bit

values: This claim needs references to reliable sources. (February 2012)

values:
/wiki/Thermometer_code
mw-redirect
Thermometer code

values: This claim needs references to reliable sources. (August 2016)

values:
/wiki/Sampling_rate
mw-redirect
Sampling rate

values:
/wiki/Johnson-Nyquist_noise
mw-redirect
Johnson-Nyquist noise

values: Category:CS1 maint: Archived copy as title

values:
reflist mw-references-wrap
list-style-type: decimal;

attrs: alt src width height style srcset data-file-width data-file-height

values:
nofollow
external text
https://d-nb.info/gnd/4128360-0

values: Category:Webarchive template wayback links

values: Category:Articles needing additional references from August 2016

values: Category:All articles needing additional references

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from October 2011

values: Category:Articles with unsourced statements from February 2012

values: Category:Articles with unsourced statements from August 2016

values: Category:Wikipedia articles with GND identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Digital-to-analog_converter
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: محول رقمي تناظري – Arabic

values: Лічбава-аналагавы пераўтваральнік – Belarusian

values:
interlanguage-link interwiki-be
display: none;

values: Цифрово-аналогов преобразувател – Bulgarian

values:
interlanguage-link interwiki-bg
display: none;

values:
interlanguage-link interwiki-cs
display: none;

values:
interlanguage-link interwiki-da
display: none;

values:
interlanguage-link interwiki-de
display: none;

values:
interlanguage-link interwiki-et
display: none;

values: Αποκωδικοποιητής ψηφιακού σήματος – Greek

values:
interlanguage-link interwiki-el
display: none;

values: Conversor de señal digital a analógica – Spanish

values: مبدل دیجیتال به آنالوگ – Persian

values:
interlanguage-link interwiki-fa
display: none;

values: Convertisseur numérique-analogique – French

values:
interlanguage-link interwiki-ga
display: none;

values: 디지털-아날로그 변환회로 – Korean

values:
interlanguage-link interwiki-ko
display: none;

values: अंकीय-अनुरूप रूपांतरण – Hindi

values: Convertitore digitale-analogico – Italian

values:
interlanguage-link interwiki-it
display: none;

values: ממיר דיגיטלי לאנלוגי – Hebrew

values:
interlanguage-link interwiki-he
display: none;

values:
interlanguage-link interwiki-lb
display: none;

values: ഡിജിറ്റൽ-ടു-അനലോഗ് കൺവെർട്ടർ – Malayalam

values:
interlanguage-link interwiki-ml
display: none;

values:
interlanguage-link interwiki-nl
display: none;

values: デジタル-アナログ変換回路 – Japanese

values:
interlanguage-link interwiki-ja
display: none;

values:
interlanguage-link interwiki-no
display: none;

values: Digital til analog-omformar – Norwegian Nynorsk

values:
interlanguage-link interwiki-nn
display: none;

values:
interlanguage-link interwiki-mhr
display: none;

values:
https://pms.wikipedia.org/wiki/DAC
DAC – Piedmontese
pms
pms
interlanguage-link-target

values:
interlanguage-link interwiki-pms
display: none;

values:
interlanguage-link interwiki-pl
display: none;

values: Conversor digital-analógico – Portuguese

values: Цифро-аналоговый преобразователь – Russian

values: Digital-to-analog converter – Simple English

values:
interlanguage-link interwiki-simple
display: none;

values:
interlanguage-link interwiki-sk
display: none;

values:
interlanguage-link interwiki-fi
display: none;

values:
interlanguage-link interwiki-sv
display: none;

values:
https://tr.wikipedia.org/wiki/D.A.C.
D.A.C. – Turkish
tr
tr
interlanguage-link-target

values:
interlanguage-link interwiki-tr
display: none;

values:
interlanguage-link interwiki-uk
display: none;

values:
https://vi.wikipedia.org/wiki/DAC
DAC – Vietnamese
vi
vi
interlanguage-link-target

values:
interlanguage-link interwiki-vi
display: none;

values: 數位類比轉換器 – Chinese

values: All languages (initial selection from common choices by you and others)

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Digital-to-analog_converter rootpage-Digital-to-analog_converter skin-vector action-view