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

《下议院的委屈》是早期现代英格兰许多政治精英的战斗口号，但精英们声称要为谁说话，他们真的反映了人民的委屈吗？音乐和歌曲为我们提供了对非精英机构、想法和身份的洞察。音乐能够将口头、听觉和文学传播结合在一起，富有情感，并利用传统，这为大众政治和怨恨的听众打开了一扇窗。17世纪英国有大量关于民众抗议的文学作品(Erskine-Hill and Storey 1983，Fox 1994，Walter 2015)，人们对民谣和侧面音乐的兴趣越来越大(Nebeker 2011，McShane 2016)；但将它们结合在一起的文学作品较少。专门处理文本降低了音乐的地位，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与否的关键。具有讽刺意味的是，同样具有讽刺意味的是，音乐是理解发自内心的不满是如何被满足的，被升华为可遏制和自我满足的畜栏的核心。如果受屈的人能够隐居到啤酒屋，喝酒，唱歌，忘记他们的烦恼，异议就得到了遏制。因此，我将一起使用音乐和歌曲来挖掘它作为公元1550至1800年间流行政治的确定性的价值。最近，克里斯托弗·马什(2016)和珍妮·海德(2018)倡导跨学科的方法，使用音乐学元素来分析侧面民谣，几个CRAASH研讨会探索了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来渗透大众政治，而海德则专注于都铎王朝中期的民谣。这项研究建立在Marsh和Hyde的工作基础上，将对音乐和词汇的长期研究与语料库数据分析相结合，以定义和突出英格兰非精英人士身份和表达中的流行音乐。我的研究问题集中在我们如何识别流行抗议，以及歌曲中不满的形式。有多个不稳定的概念需要确定，如“受欢迎的”、“持不同政见者”、“机构”，以及平行、重叠的表达和传播手段。我如何才能在不过度简化的情况下定义这些歌曲，并结合音乐学分析，我们可以从这些歌曲的背景和对流行政治的影响中学到什么？近年来，使用歌曲作为政治研究的媒介的情况有所增加，安吉拉·麦克沙恩(Angela McShane)(2016)探索了反对政治，埃里克·内贝克(Eric Nebeker)(2011)挑战了哈贝马斯的公共领域观。然而，就连内贝克也忽视了音乐，他认为这首歌能够超越资产阶级，包括文盲。就像麦克肖恩一样，他的研究完全是文本的。特定的侧面民谣研究也倾向于文本：Wurzbach(190)探索了侧面的背景，Fumerton(2010)采用了文学的方法来处理主题内容，但两者都在很大程度上排除了音乐学。最近，马什对歌谣作为结合文字、图像和声音的多媒体来源提出了质疑。海德(2018)是最早将这些因素结合到实践中的作品之一，但民谣研究仍有很大的空间，特别是在其应用于政治方面。我的论文本质上是跨学科的，我的论文将比现有的作品走得更远，用音乐和流行印刷来照亮非精英政治机构和身份。方法不是线性的，而是一种循环的、相互交织的方法论，有利于持续的反思和重新评估。

'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.