Baring-Gould, Barry, Beechey, Burke
Baring-Gould. Old Country Life
p185 Country Dances
in 1598 Hentzner described the English as "excelling in dancing, and in the art of music"
Jonathan Barry. Popular Culture in Seventeenth-century Bristol
ch 2 in Popular Culture in Seventeenth-century England
NEEDS PAGE
no assemblies or concerts until C18
music chiefly heard in the churches, alehouses, and streets
city waits
Beechey, Winifred. 1984. The Rich Mrs Robinson. Futura
account of childhood in small town in 20s and 30s
p9
Prayers and evening hymn
p39
songs which we sang together when we went out to tea with her[mother]. Somw of the songs I thought so silly that I could hardly bring myself to sing the words
Yellow daff-o-dilly - "even worse"
p77-78
scouts visiting in summer... marched down the high Street preceded by a fife band...
"We are some of the East Ham boys"
p118
In the evenings when the children were in bed... our mother played some songs, which we all sang - strange, inappropriate songs they seeemed to me, from a book aour father ahd dug up from somewhere: Jolly young Jacks are we; Merry of heart and gay; Sons of the rolling sea..."
Peter Burke
Popular Culture in Early Modern Europe 1978,1994
p ?
C18 England winessed a commercialisation of leisure; more formally-organised entertainments
p ?
[interesting but not relevant?]
1500 - popular culture was everyone's culture - a second culture for the educated, and the only culture for everyone else
by 1800 in most parts of Europe the educated, professional, and nobility had "abandoned popular culture to the lower classes from whom they were now separated... by profound differences in world view"
clergy because of the Reformations - reformers demanded a learned clergy [cf Baring-Gould]
"the old-style priest who wore a mask and danced in church at festivals... replaced by one... considerably more remote from his flock"
p?
nobles and bourgeoisie, Renaissance - modelled on couresy books (Castiglione etc)
upper classes speaking different language -English replaced Welsh and Gaelic [but C11-13 Norman French!]
p?
in England the change came during the reign of Elizabeth I. as the gap widened, "educated men began to see popular songs, beliefs, and festivals as exotic, quaint, fascinating, worthy of collection and record"
p?
in Elizabethan time, artificial was praise - meant educated, composed
late C18 there was revulsion against the artifice [Rousseau]
huge bibliography
p185 Country Dances
in 1598 Hentzner described the English as "excelling in dancing, and in the art of music"
Jonathan Barry. Popular Culture in Seventeenth-century Bristol
ch 2 in Popular Culture in Seventeenth-century England
NEEDS PAGE
no assemblies or concerts until C18
music chiefly heard in the churches, alehouses, and streets
city waits
Beechey, Winifred. 1984. The Rich Mrs Robinson. Futura
account of childhood in small town in 20s and 30s
p9
Prayers and evening hymn
p39
songs which we sang together when we went out to tea with her[mother]. Somw of the songs I thought so silly that I could hardly bring myself to sing the words
Yellow daff-o-dilly - "even worse"
p77-78
scouts visiting in summer... marched down the high Street preceded by a fife band...
"We are some of the East Ham boys"
p118
In the evenings when the children were in bed... our mother played some songs, which we all sang - strange, inappropriate songs they seeemed to me, from a book aour father ahd dug up from somewhere: Jolly young Jacks are we; Merry of heart and gay; Sons of the rolling sea..."
Peter Burke
Popular Culture in Early Modern Europe 1978,1994
p ?
C18 England winessed a commercialisation of leisure; more formally-organised entertainments
p ?
[interesting but not relevant?]
1500 - popular culture was everyone's culture - a second culture for the educated, and the only culture for everyone else
by 1800 in most parts of Europe the educated, professional, and nobility had "abandoned popular culture to the lower classes from whom they were now separated... by profound differences in world view"
clergy because of the Reformations - reformers demanded a learned clergy [cf Baring-Gould]
"the old-style priest who wore a mask and danced in church at festivals... replaced by one... considerably more remote from his flock"
p?
nobles and bourgeoisie, Renaissance - modelled on couresy books (Castiglione etc)
upper classes speaking different language -English replaced Welsh and Gaelic [but C11-13 Norman French!]
p?
in England the change came during the reign of Elizabeth I. as the gap widened, "educated men began to see popular songs, beliefs, and festivals as exotic, quaint, fascinating, worthy of collection and record"
p?
in Elizabethan time, artificial was praise - meant educated, composed
late C18 there was revulsion against the artifice [Rousseau]
huge bibliography
posted by Elisabeth at 9:42 am
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