Studying Nineteenth-Century Popular Song

1997 ◽  
Vol 15 (4) ◽  
pp. 459 ◽  
Author(s):  
Paul Charosh
Keyword(s):  
Nineteenth Century ◽  
Popular Song

The Beau Monde

2020 ◽  
pp. 41-62
Author(s):  
Rohan McWilliam
Keyword(s):  
Nineteenth Century ◽  
Popular Music ◽  
Detailed Analysis ◽  
Popular Song ◽  
Night Time ◽  
The West ◽  
The World

Chapter 3 explores the world of elite leisure in both its high and low forms to uncover how the aristocracy continued to shape the West End in the first half of the nineteenth century. This chapter is devoted to nightlife and is intended to show that one purpose of pleasure districts was to construct the idea of the night-time economy. The chapter explores the world of gentlemens’ clubs and other locations of masculine pleasure before moving into an examination of opera, ballet, and gambling; both sources of aristocratic networks. The second half of the chapter then looks at the world of low life in the Covent Garden and Maiden Lane areas; territory of the ‘flash’ and the bohemians. Affluent gentlemen explored what they saw as the ‘underworld’. Here was a world of disreputable bars and spaces for popular song. There is a detailed analysis of venues such as the Cider Cellars which shaped the development of popular music and culture with its bawdy ballads.

‘Not appreciated in Worthing?’ Class expression and popular song texts in mid-nineteenth-century Britain

Popular Music ◽  
1984 ◽  
Vol 4 ◽  
pp. 5-24 ◽  
Author(s):  
Vic Gammon
Keyword(s):  
Nineteenth Century ◽  
Working Class ◽  
First World War ◽  
Popular Song ◽  
World War ◽  
The First World War ◽  
First World ◽  
Song Texts

Recent research shows that the English folksong collectors, who were active before the First World War, systematically selected what they took down from rural working-class singers, basing their selection on what they considered to be worth preserving from such singers' repertories. Their work, then, can only give us a biased and highly mediated impression of popular singing traditions (see Harker 1972 and 1982; Gammon 1980). The purpose of this article is to see if it is possible to go beyond the work of the collectors, to try to grasp something of the wholeness of popular nineteenth-century singing traditions, and also to situate those traditions socially.

The Voices That Are Gone: Themes in Nineteenth-Century American Popular Song

1996 ◽  
Vol 14 (1) ◽  
pp. 111
Author(s):  
Paul Charosh ◽  
Jon W. Finson
Keyword(s):  
Nineteenth Century ◽  
Popular Song ◽  
American Popular Song

scholarly journals Strikes and Strike-Breaking in North-East England, 1815–44: The Attitude of The Local Press

1977 ◽  
Vol 22 (2) ◽  
pp. 226-240
Author(s):  
Maurice Milne
Keyword(s):  
Nineteenth Century ◽  
Public Opinion ◽  
The State ◽  
Popular Song ◽  
The Public ◽  
North East ◽  
Public Expression ◽  
Advantageous Position ◽  
Significant Factors

The effectiveness of the strike weapon in early-nineteenth-century England depended in some measure upon the response of public opinion. Obviously the state of trade and the relative cohesion and determination of masters and men were more significant factors, but the attitude of non-participants could not be discounted. The readiness of civil and military authorities to intervene, the reaction of the general public to requests for contributions to relief funds, the willingness of politicians to contemplate changes in the laws concerning combination: all these were influenced by the state of public opinion. It would be an oversimplification to regard “public opinion” and “newspaper opinion” as synonymous. The platform, the pulpit, the placard and the popular song were other means of public expression, not that they necessarily provided a complete or reliable guide to the public mind. Nevertheless the newspaper, particularly in the nineteenth century, was in an advantageous position to influence the response of the public to current controversies.

scholarly journals The Politics of Literature and Literacy: Popular Song Writing and Proletarian Poetry in Post-Revolutionary France

2008 ◽  
pp. 13-36
Author(s):  
Steven E. Rowe
Keyword(s):  
Nineteenth Century ◽  
Working Class ◽  
Social Order ◽  
Popular Song ◽  
Early Nineteenth Century ◽  
Symbolic Forms ◽  
Politics Of Literature ◽  
Laissez Faire ◽  
Song Writing ◽  
Working Class Women

This essay examines the politics of song writing and singing in working-class singing societies in Paris, known as "goguettes," in the early nineteenth century. The practices of writing and singing songs in these societies defined the relationships among participants by equality and good feelings, resisting the hierarchy and domination of the laissez-faire social order. At the same time, these song-writing and singing practices also produced symbolic forms of masculine authority and domination – placing working-class women in positions of subordination. By analyzing this complex politics of writing in this particular case of the "goguettes," this essay argues for recovering working-class writings as significant sources for historians of literacy and for examining the historically specific social and political contexts for the production of specific forms of writing and reading as a way of studying the historical meanings of literacy.

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