neo-classical works including The Fairy's Kiss and Pulcinella. However, Tilmouth and Sherr comment that although these works exhibit "the kind of interaction of composer and model that was characteristic of 16th-century parody", they nevertheless employ "a stylistic dichotomy far removed from it". The same authors comment that the use of old music in the scores of Peter Maxwell Davies similarly "engenders a conflict foreign to the total synthesis that was the aim of 16th-century parody". Parody in popular music Popular music has used parody in a variety of ways. These include parodies of earlier music, for comic or (sometimes) serious effect; parodies of musical and performing styles; and parodies of particular performers. Before the 20th century, popular song frequently borrowed hymn tunes and other church music and substituted secular words. "John Brown's Body", the marching song of the American Civil War, was based on the tune of an earlier camp-meeting and revival hymn, and was later fitted with the words "Mine eyes have seen the glory of the coming of the Lord", by Julia Ward Howe. This practice continued into the First World War, with many of the soldiers' songs being based on hymn tunes (for instance "When this lousy war is over", to the tune of "What a Friend We Have in Jesus" and "We are Fred Karno's Army", to the tune of "The Church's One Foundation"). Folk song has often been written to existing tunes, or slight modifications of them. This is another very old (and usually non-humorous) kind of musical parody that still continues. For instance, Bob Dylan took the tune of the old slave song "No more auction block for me" as the basis for "Blowin' in the Wind". Parodies of earlier works in popular music In the 1940s Spike Jones and his City Slickers parodied popular music in their own way, not by changing lyrics, but adding wild sound effects and comedic stylings to formerly staid old songs. The 1957 Broadway musical Jamaica parodied the then very fashionable commercial variety of Calypso music. A musical using heavy parody was the 1959 show Little Mary Sunshine, which poked fun at old-fashioned operetta. Parodists of music from the concert hall or lyric theatre have included Allan Sherman, known for adding comic words to existing works by such composers as Ponchielli and Sullivan; and Tom Lehrer, who has parodied Sullivan, folk music, ragtime and Viennese operetta. The pianist