The Rhythm of Resistance: Music and Popular Politics in Early-Modern England

抵抗的节奏：近代早期英国的音乐与大众政治

• 批准号: 2475948
• 金额: --
• 依托单位: Lancaster University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2475948
• 关键词: Rhythm; Resistance; Music; Popular; Politics

'The grievances of the commons' was a rallying cry for many of the political elite of early-modern England, but for whom did the elite claim to speak and did they really reflect the grievances of the people? Music and song offer us insight into non-elite agency, ideas and identities. Music's ability to combine oral, aural and literary transmission, to be emotive, and to capitalise on tradition, opens a window onto popular politics and audiences of grievance.There is a wealth of literature on popular protest in seventeenth-century England (Erskine-Hill and Storey 1983, Fox 1994, Walter 2015), and increasing interest in the ballad and broadside (Nebeker 2011, McShane 2016); but less bringing them into combination. Dealing exclusively with the textual relegates the music, stripping expressions of popular grievance of their emotive power. As a conduit for transmission, music is key to identifying how successful song was as a medium for change. By the same token, ironically, music is central to understanding how visceral discontent was sated, being sublimated into a containable and self-satiating corral. If the aggrieved could retire to the ale-house, drink, sing andforget their troubles, dissent was contained. Thus, I will use music and song together to exploit its value as a determinate of popular politics between c.1550 and c.1800.Recently, Christopher Marsh (2016) and Jenni Hyde (2018) advocated an interdisciplinary approach, using musicological elements to inform their analyses of broadside ballads, and several CRAASH symposia have explored music as a tool to unlock knowledge and understanding. However, Marsh does not use this to penetrate popular politics, and Hyde concentrates on mid-Tudor ballads. This study builds on the work of Marsh and Hyde, combining a longue durée study of music and words with corpus data analysis to define and foreground 'popular' music in the identities and expression of non-elites in England.My research questions focus around how we identify popular protest, and the forms of grievance within song. There are multiple fluid concepts to be identified, such as 'popular', 'dissent', 'agency', as well as the parallel, overlapping means of expression and transmission. How can I define without being overly reductive, and, using these terms alongside musicological analysis, what can be learnt about the songs' context and impact on popular politics? HistoriographyThe use of song as a medium for political study has increased in recent years, with Angela McShane (2016) exploring oppositional politics, and Eric Nebeker (2011) challenging Habermas' view of the public sphere. However, even Nebeker, who suggests that song was able to reach beyond the bourgeois, encompassing the illiterate, neglects music. Much like McShane his study is exclusively textual.Specific broadside ballad study also favours text: Wurzbach (19 0) explores the context of the broadsides, and Fumerton (2010) takes a literary approach to the thematic content, but both largely exclude musicology. Recently, Marsh has raised questions about ballads as multimedia sources combining word, image and sound. Hyde (2018) is one of the first to bring together these elements in practice, but there is still great scope for ballad study, especially in its application to politics. Being inherently interdisciplinary, my thesis will go further than existing works, using music in conjunction with popular print to illuminate non-elite political agency and identity.MethodologyRather than being linear, I propose a circular, interwoven methodology, facilitating continuous reflection and reassessment.

“平民的不满”是现代早期英国许多政治精英的战斗口号，但精英们声称为谁说话，他们真的反映了人民的不满吗？音乐和歌曲为我们提供了对非精英机构，思想和身份的洞察力。音乐具有联合收割机将口头、听觉和文学传播结合起来的能力，具有情感表达的能力，并能利用传统，这就为了解流行政治和不满的听众打开了一扇窗户。（Erskine-Hill和Storey 1983，Fox 1994，Walter 2015），以及对民谣和宽边的兴趣日益增加（Nebeker 2011，McShane 2016）;但较少将它们结合起来。只处理文本使音乐降级，剥夺了大众表达不满的情感力量。作为传播的渠道，音乐是确定歌曲作为变革媒介的成功程度的关键。具有讽刺意味的是，出于同样的原因，音乐对于理解内心的不满是如何被满足的，如何被升华为一个可控制的、自我满足的畜栏是至关重要的。如果受委屈的人能回到酒馆，喝酒，唱歌，忘记他们的烦恼，异议就被遏制了。因此，我将使用音乐和歌曲一起利用其价值作为c.1550和c.1800.Recently之间的流行政治的决定因素，克里斯托弗·马什（2016）和珍妮·海德（2018）主张跨学科的方法，使用音乐学元素来告知他们的分析宽边民谣，和几个CRAASH研讨会探索音乐作为解锁知识和理解的工具。然而，马什并没有利用这一点渗透到流行的政治，海德专注于都铎王朝中期的民谣。本研究建立在马什和海德的工作，结合长期的音乐和文字的语料库数据分析的研究来定义和前景的“流行”音乐的身份和表达的非精英在England.My的研究问题集中在我们如何识别流行的抗议，并在歌曲中的不满的形式。有多个流动的概念，如“流行”，“异议”，“代理”，以及平行的，重叠的表达和传播手段。我如何定义而不过分简化，以及使用这些术语与音乐学分析，可以了解歌曲的背景和对流行政治的影响？近年来，使用歌曲作为政治研究的媒介越来越多，安吉拉·麦克沙恩（Angela McShane，2016）探索了反对派政治，埃里克·内贝克（Eric Nebeker，2011）挑战了哈贝马斯的公共领域观点。然而，即使是内贝克，谁认为歌曲能够达到超越资产阶级，包括文盲，忽视了音乐。与麦克沙恩一样，他的研究完全是文本性的，具体的宽边民谣研究也倾向于文本：武尔茨巴赫（19 0）探讨了宽边民谣的背景，富默顿（2010）对主题内容采取了文学方法，但两者都在很大程度上排除了音乐学。最近，马什对民谣作为结合文字、图像和声音的多媒体资源提出了质疑。海德（2018）是第一个在实践中将这些元素结合在一起的人，但民谣研究仍然有很大的空间，特别是在其应用于政治方面。本质上是跨学科的，我的论文将比现有的作品走得更远，使用音乐与流行的印刷品，以照亮非精英的政治机构和identity.MethodologyRather不是线性的，我提出了一个循环，交织的方法，促进不断反思和重新评估。