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

“平民的不满”是近代英格兰许多政治精英的战斗口号，但精英代表谁说话他们真的反映了人民的不满吗？音乐和歌曲让我们洞察非精英的能动性、想法和身份。音乐能够将口头、听觉和文学传播结合起来，具有感染力，并利用传统，这为了解流行政治和不满听众打开了一扇窗。关于17世纪英国的民众抗议有大量的文献（erskinner - hill and Storey 1983, Fox 1994, Walter 2015），人们对民谣和舷侧的兴趣也越来越大（Nebeker 2011, McShane 2016）；但把它们结合起来就更少了。只处理文本贬低了音乐，剥夺了表达大众不满的情感力量。作为传播的渠道，音乐是确定歌曲作为变革媒介有多成功的关键。出于同样的原因，具有讽刺意味的是，音乐对于理解内心的不满是如何得到满足的，是如何升华成一个可控的、自我满足的畜栏的。如果那些愤愤不平的人能退到啤酒屋去，喝酒、唱歌，忘掉烦恼，他们的不满就会得到遏制。因此，我将把音乐和歌曲结合起来，利用它们作为1550年至1800年间流行政治的决定因素的价值。最近，Christopher Marsh（2016）和Jenni Hyde（2018）提倡跨学科的方法，使用音乐学元素来分析侧面民谣，几个CRAASH专题讨论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，海德则专注于都铎王朝中期的民谣。本研究以Marsh和Hyde的工作为基础，将音乐和词汇的长期研究与语料库数据分析相结合，以定义和展望英国非精英身份和表达中的“流行”音乐。我的研究问题集中在我们如何识别流行的抗议，以及歌曲中不满的形式。有多个流动的概念需要识别，如“大众”、“异议”、“代理”，以及平行、重叠的表达和传播方式。我如何在不过度简化的情况下定义，并且，将这些术语与音乐学分析一起使用，可以了解歌曲的背景和对流行政治的影响？近年来，歌曲作为政治研究媒介的使用有所增加，Angela McShane（2016）探索了对立政治，Eric Nebeker（2011）挑战了哈贝马斯关于公共领域的观点。然而，即使是认为歌曲能够超越资产阶级，包括文盲的内贝克，也忽视了音乐。和麦克沙恩一样，他的研究完全是文本化的。具体的侧面民谣研究也倾向于文本：Wurzbach（1990）探讨了侧面的背景，而Fumerton（2010）则采用文学方法来研究主题内容，但两者都在很大程度上排除了音乐学。最近，马什对歌谣作为集文字、图像和声音于一体的多媒体来源提出了质疑。Hyde（2018）是最早将这些元素结合到实践中的人之一，但民谣研究仍有很大的空间，特别是在将其应用于政治方面。我的论文本质上是跨学科的，将比现有的作品走得更远，将音乐与流行的印刷品结合起来，阐明非精英的政治机构和身份。方法论：我提出了一种循环的、相互交织的方法论，而不是线性的，以促进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.