scholarly journals The Hibernian Catch Club: Catch and Glee Culture in Georgian and Victorian Dublin

2018 ◽  
pp. 17-33
Author(s):  
Tríona O’Hanlon
Keyword(s):  
Nineteenth Century ◽  
Religious Organizations ◽  
Professional Musicians ◽  
Musical Life ◽  
Social Divisions ◽  
Music Making ◽  
Cultural Life ◽  
The Social ◽  
Late Eighteenth ◽  
Cultural Connections

The Hibernian Catch Club was the leading Irish club of its kind, setting the standard in terms of performance. It gained status as Dublin’s longest-standing music society, and must be credited with pioneering catch and glee culture in Ireland. Its existence appears to pre-date the foundation of the most renowned London catch and glee clubs, emphasizing its significance within the wider context of catch and glee culture. This article examines the contribution that the Hibernian Catch Club made to musical life in Georgian and Victorian Dublin, contextualizing how the Club’s activities and membership reflect aspects of Dublin’s wider social, political and cultural life during this period.  The extent to which the Club reflects the traditions associated with the culture as established in England is evaluated, before the discussion turns to an exploration of the repertoire. The Hibernian Catch Club was part of a wide performing network, its singers possessing established connections with musical, social and religious organizations in Dublin, London and provincial England. The Hibernians engaged with and maintained the traditions associated with the culture (singing, dining and conviviality) while also representing the social and cultural partnership formed between Dublin’s amateur and professional musicians. Its singers, dominated by vicars choral, represent the religious and social divisions evident in private music-making circles in late-eighteenth and nineteenth-century Dublin. In fact, social, religious and musical exclusivity were inherent in its profile and are reflected by the overall lack of change in its aims and outlook. The Club’s activities and repertoire are comparable with those of the London and provincial English catch and glee clubs, illustrating the strong cultural connections between Britain and Ireland.  

scholarly journals The Public Sphere in the Field of Power

2010 ◽  
Vol 34 (3) ◽  
pp. 301-335 ◽  
Author(s):  
Craig Calhoun
Keyword(s):  
Nineteenth Century ◽  
Public Sphere ◽  
Public Life ◽  
Early Nineteenth Century ◽  
Public Spheres ◽  
Social Foundations ◽  
The Public ◽  
The Social ◽  
Late Eighteenth ◽  
The Public Sphere

In this article I ask (1) whether the ways in which the early bourgeois public sphere was structured—precisely by exclusion—are instructive for considering its later development, (2) how a consideration of the social foundations of public life calls into question abstract formulations of it as an escape from social determination into a realm of discursive reason, (3) to what extent “counterpublics” may offer useful accommodations to failures of larger public spheres without necessarily becoming completely attractive alternatives, and (4) to what extent considering the organization of the public sphere as a field might prove helpful in analyzing differentiated publics, rather than thinking of them simply as parallel but each based on discrete conditions. These considerations are informed by an account of the way that the public sphere developed as a concrete ideal and an object of struggle in late-eighteenth- and early-nineteenth-century Britain.

Introduction: Music-making in Domestic Space

2012 ◽  
Author(s):  
DEBORAH HOWARD
Keyword(s):  
Interdisciplinary Approach ◽  
Domestic Space ◽  
Musical Performance ◽  
Musical Life ◽  
Early Modern France ◽  
Music Making ◽  
The Social ◽  
Modern France ◽  
The Subject

The introduction sets the forthcoming chapters in the broader context of musical life in Early Modern France and Italy, with reference to existing scholarship on the subject. The occasions and locations in which musical performance took place are outlined, and the scope of the book is defined, stressing the close connections between France and Italy. A growing number of studies of secular music-making consider the social and ideological framework for performance, but usually without serious consideration of architectural settings. Yet these were crucial to the acoustic quality of the performance, for both players and listeners. The chapter therefore underlines the need for an interdisciplinary approach, to establish the background for the study of the emergence of the permanent theatre.

Re-imagining the Social Order

2018 ◽  
pp. 155-178 ◽  
Author(s):  
Joanna Innes
Keyword(s):  
Nineteenth Century ◽  
Social Change ◽  
Social Order ◽  
Reference Point ◽  
The State ◽  
Southern Europe ◽  
Old Order ◽  
The Social ◽  
Mediterranean World ◽  
Late Eighteenth

The late eighteenth and early nineteenth centuries saw attempts around the Mediterranean world to replace an old order of privilege and delegated power with one in which all subjects were equal before the state. Across southern Europe, revolutionary France provided the model: under French and subsequently liberal regimes, privilege in state, church, and economy was cut back; there were analogous changes in the Ottoman world. Legal change did not always translate into substantive social change. Nonetheless, new conceptions of a largely autonomous ‘society’ developed, and new protocols were invented to relate state to ‘society’, often entailing use of tax status as a reference point for the allocation of rights and duties. The French Doctrinaires argued that the abolition of privilege made society ‘democratic’, posing the question, how was such a society best governed? By the middle of the nineteenth century, this conception was widely endorsed across southern Europe.

Inherited Charisma and Personal Qualities: Sayyids and religious reform in nineteenth century Multan

2020 ◽  
Vol 30 (3) ◽  
pp. 417-432
Author(s):  
DIEGO ABENANTE
Keyword(s):  
Nineteenth Century ◽  
Social Hierarchy ◽  
Reform Movements ◽  
Religious Reform ◽  
The Social ◽  
Late Eighteenth ◽  
The Status ◽  
Personal Qualities ◽  
Older Families ◽  
Stable Feature

AbstractIt has generally been acknowledged that Sayyids, through their real or imagined connection to the Prophet, have represented a key trans-regional dimension of Islam. In the Punjab, the status of the Ashraf has been reinforced by their role as custodians of the Sufi shrines. In the Multan region, Sayyids and Qureshis acted frequently as pir and sajjada nashin for many Sufi dargahs. Their position, however, did not go unchallenged. The Chishti Nizami revival in the late eighteenth and nineteenth century saw the growth of an alternative religious network that competed with older families both religiously and socially. This process directly challenged the idea of inherited charisma and the established social hierarchy. Although reform movements are often considered to represent a shift towards a universal dimension of Islam, connected symbolically to Arabia and to the figure of the Prophet, the Chishti Nizami revival in Multan can be seen rather as a vernacularisation of Islamic authority. The movement favoured the social ascent of local tribes and non-Arab Ashraf families. The alliance between these groups would become a stable feature in the nineteenth and early twentieth centuries, and contributed to the social status of Sayyid families being questioned.

The Flageolet: A Woodwind Instrument that Transcended Social Class and Gender in Nineteenth-Century England

2020 ◽  
pp. 1-24
Author(s):  
Douglas MacMillan
Keyword(s):  
Nineteenth Century ◽  
Social Class ◽  
Societal Implications ◽  
Public Performance ◽  
Professional Musicians ◽  
Concert Hall ◽  
Music Making ◽  
Music Hall ◽  
And Gender

The flageolet – a woodwind instrument closely akin to the recorder – achieved considerably popularity in nineteenth-century England. It was predominantly an instrument of the amateur musician, and its story becomes a mirror of the musical society in which the instrument flourished. An account of the organology of the flageolet in both its English and French forms, and of its evolution into double, triple and transverse versions, precedes a study of pedagogical material and repertoire. The work of William Bainbridge, who modified the flageolet to simplify its technique and hence enhance its suitability for amateur players, is emphasized, along with his skill as an innovator of complex flageolets. The flageolet attracted a small number of professional exponents who tended to favour the French form of the instrument. The principal focus of the article is an examination of the role of the flageolet within the context of musical praxis in England and its societal implications during the long nineteenth century. After consideration of matters of finance, social class and gender, the article examines the use of the flageolet by amateur and professional musicians, particularly highlighting the importance of the instrument in domestic music-making as well as in amateur public performance. Professional use of the instrument within the context of the concert hall, the theatre, the ballroom and the music hall is explored and examples given of prominent players and ensembles, some of which were composed entirely of female musicians. Final paragraphs note the playing of the flageolet by itinerant and street musicians.

“A Wild Sort of Note”

2017 ◽  
Author(s):  
James Revell Carr
Keyword(s):  
Nineteenth Century ◽  
Performing Arts ◽  
Social Conditions ◽  
Expressive Culture ◽  
Multicultural Environment ◽  
Music Making ◽  
The Social ◽  
The World ◽  
Work Song

This chapter addresses Hawaiians' roles in the multicultural environment aboard European and American sailing ships during the nineteenth century, focusing particularly on the expressive culture of American whalers. Whaling ships began regularly calling at Hawaiian ports in 1820, and over the next six decades thousands of Hawaiian men shipped out as whalemen, joining one of the most cosmopolitan workforces in the world. The chapter begins by describing the social conditions aboard American ships that enabled a variety of performing arts to flourish and encouraged intercultural bonding. It then explicates the different styles and contexts of shipboard music starting with the work song tradition known as the sea chantey (or shanty). It describes the recreational music-making activities of sailors, distinct from the work song tradition, providing accounts of Hawaiian singing and dancing aboard ships at sea and in various global ports, and the responses of Euro-American sailors to that music and dance.

Étienne Geoffroy Saint-Hilaire, Richard Owen and monotreme oviparity.

2019 ◽  
Vol 40 (2) ◽  
pp. 272-289 ◽  
Author(s):  
Stewart Nicol
Keyword(s):  
Nineteenth Century ◽  
Social Context ◽  
Egg Laying ◽  
Social Classes ◽  
The Social ◽  
Late Eighteenth ◽  
Richard Owen ◽  
Initial Description ◽  
Social Conservatives

Most biologists, particularly Australian biologists, are aware that the initial description and attempts to classify the echidna and platypus were surrounded by controversy. Fewer are aware of the important roles played by two eminent scientists, Étienne Geoffroy Saint-Hilaire in Paris and Richard Owen in London, in the debate as to whether the platypus and echidna were really mammals, and whether they laid eggs. Geoffroy argued that they were egg-laying but could not possibly lactate; Owen argued that they lactated but could not possibly lay eggs. Because of these and many other aspects of their biology, monotremes featured prominently in debates about classification of animals and the transmutation of species, and involved many important scientists of the time. These arguments can only be understood in the context of the development of science in the late eighteenth and the nineteenth century, and how that was influenced by the social context. Early ideas of evolution, or transformism, were attractive to radical thinkers, whereas social conservatives were anxious to show that the boundaries between types of animals, just like the boundaries between social classes, were erected by God and could not be crossed.

A Farewell Address in Urdu Presented to John Panton Gubbins by the Citizens of Delhi in 1852

1964 ◽  
Vol 27 (2) ◽  
pp. 397-407
Author(s):  
S. A. A. Rizvi
Keyword(s):  
Nineteenth Century ◽  
African Studies ◽  
Cultural Life ◽  
The Social ◽  
History Of

This document is in the possession of Mr. J. K. Gubbins of High Wycombe, Buckinghamshire, and a photocopy has recently been acquired by the library of the School of Oriental and African Studies, University of London. It is unique in the history of Urdu prose, being the earliest known farewell address written in Urdu. The language is simple and idiomatic and the style is free from affectation and turgidity—defects from which documents of this type are not free even to-day. Though some commonplace adjectives have been used, it on the whole satisfactorily brings out the main contributions of John Panton Gubbins to the social and cultural life of the Delhi of the mid-nineteenth century.

Fiction and Poetry

2020 ◽  
pp. 144-168
Author(s):  
Michael Halliwell
Keyword(s):  
Nineteenth Century ◽  
Art Song ◽  
Music Performance ◽  
Critical Discourse ◽  
Significant Feature ◽  
Turn On ◽  
Music Making ◽  
Late Eighteenth ◽  
Professional Evaluation ◽  
Eighteenth And Nineteenth Centuries

The rise of the European novel reached its zenith during the nineteenth century. One can hardly turn on the TV without seeing an adaptation of a novel from this period in a classically sumptuous BBC-TV production. The depiction of music-making in a variety of forms is a significant feature of many of the works of literature and poetry of the period, as the professional evaluation of music performance became part of a broader critical discourse. Poetry found an ever-growing mode of dissemination through the commercial performance of the art song—the work of many, mostly forgotten poets of the late eighteenth and nineteenth centuries lives on in the German Lied, the French mélodie and the English art song.

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