War cries and chants were "pump up music", depending on your definition of music. The New Zealand Haka and the Confederate Rebel Yell are two semi famous ones. A major problem is that since these are oral traditions they're easily lost. We only have one reliable recording of what the rebel yell actually sounded like.

When you use the phrase "pump-up music", the name John Philip Sousa immediately springs to mind. At the turn of the last century, he was the most popular composer in America, and made his mark with patriotic, jaunty, toe-tapping marches that stirred the hearts of large crowds. It's hard not to listen to pieces such as Semper Fidelis, the The Washington Post, or The Thunderer even today without getting a real charge.

As one reviewer put it when Sousa's band first played The Stars and Stripes Forever in 1897, the music was "stirring enough to rouse the American eagle from his crag and set him to shriek exultantly while he hurls his arrows at the aurora borealis."

This kind of emotional impact was a deliberate strategy on the part of Sousa, who tailored his music to important public occasions (such as the Chicago World's Fair or the tour of the Liberty Bell) to drum up popular interest and to create an atmosphere of excitement. The style of music was also designed to elicit an emotionally stirring patriotic impact among listeners. As Sousa put it, a march "stimulates every center of vitality, wakens the imagination."

Conductor Frederick Fennell's appreciation of Sousa's music is worth quoting at length:

Providing appropriate music for the parade ground has long been the principal purpose for the existence of the military band and those units of fifers, drummers, pipers, and buglers attached to it in military establishments throughout the world. Regimental review calls for a no-nonsense, solid, one-two cadence undergirding simple tunes that are usually orchestrated in equally no-nonsense, block-buster fashion. The object of the regimental march is to move lots of organized pairs of feet forward and at a pace and with a spirit that elevates the occasion to those moments of pride and purpose without which probably no unit can function as intended.

In the overview of his enormous output it is obvious, however, that Sousa conceived the majority of his marches for sit-down performances, for toe tapping rather than foot marching while, at the same time, it is unmistakably clear that Sousa's music is for the feet rather than for the head.

One Australian reporter observed that this flair for the dramatic extended even to Sousa's style of conducting:

The people pay just as much to see him and his energetic counters and right-crosses and double-hand punch, his hypnotic passes, cut-and-thrust-exercises, wood-chopping contests and flag-wagging gesticulations as they do to hear his band. So he gives them the goods they come for.

So I'm not sure if this is exactly what you're getting at, but certainly Sousa (and his British "March King" counterpart Kenneth Alford) to my mind were examples of music meant to get people pumped up.

Source: Patrick Warfield, "The March as Musical Drama and the Spectacle of John Philip Sousa," Journal of the American Musicological Society, Vol. 64, No. 2 (Summer 2011): 289-318