DOCSLIB.ORG

The Income Tax Author(S): JFR Stainer Source: the Musical Times

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Income Tax Author(S): JFR Stainer Source: the Musical Times The Income Tax Author(s): J. F. R. Stainer Source: The Musical Times, Vol. 55, No. 853 (Mar. 1, 1914), pp. 165-166 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/906260 Accessed: 01-12-2015 22:33 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 141.233.160.21 on Tue, 01 Dec 2015 22:33:40 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-MARCH I, 1914. 165 It's forthe wanto' pocketmoney I heard 'em say it werewomen's day And forthe wanto' cash So I thoughtI would just look o'er, Mak's manya bonnyladdie I knewit werecolliers' lass. reckoning Gar leave his bonny At neetafore. For I am bound to go, mylove, t'Saturday Whereno one shall me know, When I get there,there were nowt astir, And the bonnylassie's answer But thingsdid altersoon, Will be Ay, no, no, no no. For womencoom rollingby dozensat once Will be Ay, no, no, no, no, mylove, That Mondayafternoon. Will be Ay, no, no, no, no. I'll cut off locks myyellow Owd women weredrest And gang along withthee, they verygrand And be thyfaithful comarade But younguns granderstill, In some foreigncountree. And keysswung round on theirfingers Oh, stayat home,my bonny lass, Like the sails of a windymill. And dinnagang awa, Old clothes did For littledost thouknow shopsthey surround, And laid bare Of the dangersof the war ; pegs they soon, And the bonnylassie's answer While Tom and me wereworking hard Will be Ay, no, no, no, no. That Mondayafternoon. Ex. 3. I watch'dtheir ways in the marketplace Until I weredry as a stick, And thenI wentto the CheshireCheese I once went to Law-ton to sweetheart a lass, Folks To see 'em in 'Twas a land drab-ly road, and I went a gay shack; It pop quick. They firstpopped in and thenpopped out With facesas red as the moon, And theysmooth'd their lips quite unconcern'd said that the fa - ther 'ud see af - ter t'brass. That Mondayafternoon. come on to rain, but I did - nt turn back. CHORUS. At half-pastfive there were such a rush I shall neverforget the shock, like Nay, not a bit of it, Nay, not I, I These womenthey flew lightening, Shoutingout it's six o'clock. Our Ben '11be come whenI get whoam, And thenhis clumsyshoon ne'er care for wea - ther, be't rain - y or dry. U1 come in contactwith my poor shins This Mondayafternoon. Close to Manchester, and probably not many miles fromits the none too nice birthplace, followingballad, that in sentiment a hawked in the streets half a One of the humours of ballad collecting is (of type tend was committed to as it came time-honouredoral pieces, by act of transcription, century ago), paper just Thus the or the fromthe mouth of an elderly songster who had a ready to become copyright. writer, Musical voice and a sure ear. Those who are conversant with Times, actually secures the copyright of the songs have not the same the printed ballads, such as the famous collection quoted (provided others gleaned in mere fact of them. But the which Halliwell gave to the Chetham Library, will field) by the publishing not so as it for no law in know that such things were often written to any old restrictionis grave sounds, air which fitted. No is claimed for the the land can hinder anyone from listening to my antiquity and it is far fromnew : reaper, weaver, or huntsman, or fromtranscribing present piece ; yet certainly catch publishing their songs. But they must first Ex. 4. their hare. Law only says they must not snatch mine. If musical readers will only be alert to ply pen or On Mon - morn - we broke down At th' day ing pencil, or to make judicious use of the phonograph, airs and ballads such as these will be found readily -3- forthcoming throughout the North of England. Some of the countrysingers make one doubt whether fac - to - ry where I spin, So I went home; it folk-song is a thing even now quite dead, since they not uncommonly have an original composition or two up their sleeve. were so fine, I could - na stop with - in, I THE INCOME TAX. drest me up in my se-cond best, put on my Sun - day shoon, BY J. F. R. STAINER. CHORUS. The Income Tax, of which we are likely to hear a ----- -- good deal shortly, is not, one would think, a theme And I took a walk up Old - ham Street, That that lends itself readily to musical treatment; but it With a fa la la la, fa la la, fa has been the subject of at least one song, a song written as long ago as I8oo00,by Charles Dibdin the younger, and sung by a Mr. Davis at Sadler's Wells which was advertised in Mon - day af - ter. noon. in the course of a programme la la la fol ay. the daily Press as follows. This content downloaded from 141.233.160.21 on Tue, 01 Dec 2015 22:33:40 UTC All use subject to JSTOR Terms and Conditions 166 THE MUSICAL TIMES.-MARCH I, 1914. Under the Patronageof His Royal Hz?qhness No moreneed be said, I think,by way of introductionto The Duke of Clarence. the song except that 'the Minister'was Pitt,and that the word'plum' in the fourthverse is or used to be commercial fora sumof fIoo,ooo. The musicwas SADLER'S WELLS. slang publishedby Clementi& Co., Cheapside,but I am sorryto say that I have notbeen able to come acrossa copyof it. On Mondaynext, August 18, 18oo, and followingEvenings (forpositively the last week) 'THE INCOME TAX.' THE OF THE ELBE. SPIRITI Ye quidnuncsso queer, who throughpolitics trudge it And mumbleeach crustof the Minister's Mr. Grimaldiwill sing a favouriteComic Song. budget, Of all the variousways he discoveredto link'em, An entirenew Musical Bagatelleby C. Dibdin,jun., called Don't you thinkhe did thejob in the Tax upon Income? Lord, how the great folks must come down with the THE BLACK PIG; or, LADY'S HOBBY-HORSE. clinkum, Whenthe he goes roundfor the Tax upon Income. Afterwhich Mr. Davis will sing a new Comic Song gem'man C. called (writtenby Dibdin, jun.) 'Twould be drollif this tax tythe-in-kindshould be collected, THE INCOMIE TAX. Then fromlawyers, you know,justice couldn't be expected%! The proctorstheir payment in testamentsthey'd make it, An entirenew Comic PantomimeDance by The doctorspay in physic-butwho the deuce would take it? Mr. Gouriet,called I'll tell you who we'd give it to, 'twould save us all our clinkum, THE HIGHLAND A SOLDIER FOR ME. CAMP; or, To thegem'man who goes roundfor the Tax upon Income. Mr, Richer's inimitableperformances on the Shouldthe ask the barber's he'd latherhim, TIGHT ROPE. gem'man tythe, mayhap,Sir, The wholeto concludewith the celebratednew Pantomime The cobler too for tythein kind would give his worship by C. Dibdin, jun., called strap,Sir, The baker'd give him shortweight, whene'er he chose to CHAOS, or H-ARLEQUIN PHAETON. call, Sir, was then he'd him with Comic and a most Except the baker churchwarden, give Interspersed Singing, including noneat all, Sir, uncommonvariety of Mechanicaland Magical Transforma-For we know no mcre what churchwardensdo with the tions, replete with Whim and Originality; and in most clinkum and diversified of superb interestedly arrangement Scenery, Than the gem'manwho goes round for the Tax uponIncome. combiningthe most prominentCharacteristics of Novelty, and Natural To conclude with a Magnificence Effect. Our citsare worthso our noblestoo including, Transitionfrom the celebratedRuins of the manyplums, Magical Temple Their contributionssure would make a national of the Sun, at Balbec in Persia, to a most exquisiteFancy plum of that a pudding, Temple Luminary,forming complete Of whichour foesto get a slice would try,ne'er doubtthe CLIMAX OF BRILLIANCE. question, But they find our Britishdumplings too hard for their digestion, Boxes, 4s. Pit, 2s. Gallery, Is. And but forthese, cooked by our tars,we'd have but little clinkum For thegem'man who goes roundfor the Tax upon Income. Doors to be opened at half-pastfive, and begin at half-past six. Servantsto keep places until half-pastseven. The May the incomesof therich ne'er be taxed by venality, half-priceadmission at half-pasteight o'clock. But the incomesof the poor enlargedby theirliberality ; the tax of war's terrible One of the 'turns' introducedin or May outgoingscease, Sir, 'Chaos, Harlequin And Britonsbe blestby the incomeof peace, Sir ; Phaeton,' was a 'Mock Italian Air by Mr. Dubois, Till then our tarsmake our foesfind the clinkum on the salt-box Mr. Grimaldi' may accompanied by (!). For thegem'man who roundfor the Tax Income. A tax on income was still a novelty. It was first goes upon imposed in 1799, when the countrywas strainingevery nervein the Frenchwars, and Ministerswere at theirwits' Charles Dibdin, junior, the author of the song, was end to devisenew meansof raisingmoney.
Load more

Recommended publications
  • Black English in Britain in the Eighteenth Century
    Black English in Britain in the Eighteenth Century David Paisey for Ziggi Alexander and Audrey Dewjee Historians have added in various ways to our knowledge of the black presence in Britain during the eighteenth century, but one aspect has not figured largely in the accumulated evidence, namely records of how black people, a distinct underclass, spoke to each other and to all classes of the native white population. In a period long before sound recording, we are obviously dependent on written sources for indications of how lower-class groups spoke, that is to say their deviations in vocabulary, grammar, syntax and pronunciation from what we must call standard English, itself a construct from written sources. Accessible Court records from the period, of testimony by black defendants and witnesses, seem not to have been verbatim,1 and there is no key which might lead us to potential untapped sources in private manuscripts. It is also the case that works actually written and published by literate members of all ethnic groups generally aimed at the standard: this certainly applies to the published works of well- known black writers such as Ignatius Sancho (c. 1729-1780), Olaudah Equiano (c. 1745-1797), Ottobah Cugoano (c. 1757-after 1791) and the African-American Phyllis Wheatley (c. 1753- 1784). There are exceptions, however, in various works of imaginative literature by non-black writers, and these will provide all my evidence here. Amongst these, drama looms large, since the words given to some (though not all) of its black characters constitute an attempt to provide non-speakers of Black English (the actors of the day) with what must have been thought a believable likeness of the real thing.
    [Show full text]
  • Translating Allusions: the Case of Dubliners by James Joyce / S
    590 / RumeliDE Journal of Language and Literature Studies 2020.18 (March) Translating allusions: The case of Dubliners by James Joyce / S. Tekalp (pp. 590-609) Translating allusions: The case of Dubliners by James Joyce1 Selen TEKALP2 APA: Tekalp, S. (2020). Translating allusions: The case of Dubliners by James Joyce. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (18), 590-609. DOI: 10.29000/rumelide.706407 Abstract Intertextuality refers to the relation of a text to other texts. Although the notion has connections with many fields of art such as painting, sculpture, architecture, cinema and theatre, in this study it is examined as a literary concept within the framework of translation studies. Intertextual devices such as quotations, citations and allusions pose great challenge for translators as they require an extensive cultural knowledge and an awareness of the extratextual relations of the text. These relations can be built by author’s use of allusions, quotations, translation, pastiche, parody and other intertextual elements. However, the analysis of all these elements seems to be compelling for a translator. Therefore, to investigate how intertextuality is treated in the Turkish translations of Dubliners, the scope has been restricted to the allusions. Allusion is described as an indirect reference to a literary work, a person, place or thing that is already known. In Dubliners, Joyce uses multiple allusions dedicated to literary texts, historical and political figures and events. The case study has been carried out by examining the allusions separately in all fifteen stories within the book. After that, the Turkish translations performed by Murat Belge and Merve Tokmakçıoğlu were analysed, and the Turkish counterparts of the detected allusions were listed for each story.
    [Show full text]
  • John Bill Ricketts and the Edinburgh Equestrian Circus
    5 Kim Baston La Trobe University, Australia Transatlantic Journeys: John Bill Ricketts and the Edinburgh Equestrian Circus John Bill Ricketts is generally credited as the founder of American circus, setting up a circus in Philadelphia in 1793. This paper examines evidence from Ricketts’ early career in England and Scotland and argues that the successful transplant of the early modern circus form initiated by Philip Astley into America rested on Ricketts’ experiences with a small circus in Edinburgh, established by the equestrian performers George Jones and William Parker. Not only did this circus provide a repertoire and a business model which Ricketts replicated in his American circuses but, crucially, provided him with a network of experienced performers whom he subsequently employed. The first circus in America owed much to the first circus in Scotland. Kim Baston is a Senior Lecturer in Theatre and Drama at La Trobe University, Melbourne. Keywords: John Bill Ricketts, circus, equestrian, American circus, Edinburgh circus, James Jones, George Jones he equestrian performer, John Bill Ricketts, is generally credited with T being the founder of circus in the Americas, setting up a circus in Philadelphia in 1793, and going on to establish circus buildings along the eastern seaboard, and in Canada. As an originating figure, his achievements are listed in almost every history of the American circus, whether popular or academic. Many existing histories, however, attach Ricketts in a seamless lineage to either Philip Astley, founder of Astley’s Amphitheatre and the institution of the early modern circus in England, or, more commonly, to an apprenticeship with Astley’s rival, Charles Hughes, founder of the Royal Circus.1 This link was first questioned by James S.
    [Show full text]
  • Music and Elite Identity in the English Country House, C. 1790-1840
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Music and Elite Identity in the English Country House, c.1790-1840 by Leena Asha Rana Thesis for the degree of Doctor of Philosophy December 2012 2 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Doctor of Philosophy MUSIC AND ELITE IDENTITY IN THE ENGLISH COUNTRY HOUSE, c.1790-1840. by Leena Asha Rana In this thesis I investigate two untapped music book collections that belonged to two women. Elizabeth Sykes Egerton (1777-1853) and Lydia Hoare Acland (1786-1856) lived at Tatton Park, Cheshire, and Killerton House, Devon, respectively. Upon their marriage in the early nineteenth century, they brought with them the music books they had compiled so far to their new homes, and they continued to collect and play music after marriage.
    [Show full text]
  • Plimpton Collection of Dramas 1675-1920 (Bulk 1850-1900)
    AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS Plimpton Collection of Dramas 1675-1920 (bulk 1850-1900) Summary: A collection of 1429 plays, largely from nineteenth century American and Brisish popular theater. Quantity: 14 linear feet Listed by: Neha Wadia, AC 2013, Student Assistant Note: These plays are cataloged in the Amherst College online catalog. To find the complete listing in the catalog, do a basic keyword search for “Plimpton collection of dramas”. Individual plays can be searched by title and author. The call number for the collection is PN6111.P5 © 2013 Amherst College Archives and Special Collections Page 1 Plimpton Collection of Dramas INTRODUCTION THE PLIMPTON COLLECTION OF PLAYS by Curtis Canfield Originally published in the Amherst Graduates’ Quarterly, May 1932 Mr. George A. Plimpton, ’76, recently presented to the college a large collection of material relating to the English and American theatre of the nineteenth century. More than 1200 plays are represented in the collection in addition to numerous playbills, programs, libretti, histories, and after-pieces, as well as an autographed photograph of Edwin Booth as Richelieu. The collection seems to have been a part of the extensive theatrical library of Mr. Edward Boltwood of Pittsfield, whose father was born in Amherst in 1839 and moved to Pittsfield in 1870. Mr. Boltwood, although an active member of the Berkshire bar, made the theatre his avocation and found time to write a number of small pieces for the stage, one of which is included in the present collection. He was also instrumental in establishing the William Parke Stock Company in Pittsfield, and continued his connection with this company by writing reviews of its plays.
    [Show full text]
  • Research Guide for Archival Sources of Smock Alley Theatre, Dublin
    Research Guide for Archival Sources of Smock Alley theatre, Dublin. October 2009 This research guide is intended to provide an accessible insight into the historical, theatrical and archival legacy of Smock Alley theatre, Dublin. It is designed as an aid for all readers and researchers who have an interest in theatre history and particularly those wishing to immerse themselves in the considerable theatrical legacy of Smock Alley theatre and it’s array of actors, actresses, directors, designers, its many scandals and stories, of what was and is a unique theatrical venue in the fulcrum of Dublin’s cultural heart. Founded in 1662 by John Ogilby, Smock Alley theatre and stage was home to many of the most famous and talented actors, writers and directors ever to work and produce in Ireland, England, Scotland and Wales, throughout the seventeenth and eighteenth century. Celebrated players included Peg Woffington, David Garrick, Colley Cibber, Spranger Barry and George Ann Bellamy. Renowned managers and designers such as John Ogilby, Thomas Sheridan, Louis De Val and Joseph Ashbury would help cement the place of Smock Alley theatre as a venue of immense theatrical quality where more than just a play was produced and performed but more of a captivating, wild and entertaining spectacle. The original playbills from seventeenth century productions at Smock Alley detail many and varied interval acts that often took place as often as between every act would feature singing, dancing, farce, tumbling, juggling and all manner of entertainment for the large public audience. Smock Alley was celebrated for its musical and operatic productions as well as its purely dramatic performances.
    [Show full text]
  • Appendix Appendices Page 1 from Oxford Dictionary of National
    Appendix From Oxford Dictionary of National Biography Charles Dibdin 1745-1814 actor, composer, and writer, Charles Dibdin (bap. 1745, d. 1814), by Thomas Phillips, 1799 Dibdin next accepted an invitation from his elder brother Thomas Dibdin, Charles (bap. 1745, d. 1814), actor, composer, and writer, (later the father of Thomas Frognall Dibdin) to move to London. was baptized privately (possibly because he was sickly at birth) There he quickly learned extempore playing at the organ, and he on 4 March 1745 at Southampton, and again publicly on 26 often played the congregation out at St Bride's, Fleet Street. He March at Holyrood Church, Southampton, where his father, also entered into a working relationship (unlikely to have been as Thomas Dibdin, was parish clerk; his mother's name has been an apprentice) with the music and instrument seller John Johnson; given as Sarah, née Wesgarth. later he claimed that all he did at Johnson's shop, the Harp and Crown in Cheapside, was to tune harpsichords. Thomas sailed Youth and early career with the Hope in 1757, during the Seven Years' War, and the ship was captured by the French. Charles Dibdin soon discerned a Charles was probably the twelfth of fourteen children, and his cooling of interest by his brother's friends, and one of them, father was ‘a silversmith, a man of considerable credit’ Richard Berenger, an Irishman, advised him that this was because (Professional Life, 1.15); nothing is known of his mother's family. of his refusal to act as a ‘fiddler and a buffoon’ while in their His father died when he was young and the family moved to company; Berenger advised him to consider the stage as a career.
    [Show full text]
  • GARRICKS JUBILEE.Pdf
    fr na A comprehensive — and occasionally hilarious—study of the three-day fes­ tival staged by David Garrick, the brilliant actor and manager of the Drury Lane Theatre in London, at Stratford-upon-Avon, in September, 1769. This was the first Shakespeare fes­ tival to engage national interest, and although its critics vilified it as a fiasco and a monumental example of bad taste, its defenders thought it a glorious occasion. James Boswell, a member of the latter group, de­ scribed it as being ((not a piece of farce . , but an elegant and truly classical celebration of the memory of Shakespeare." Reproduced on the stage in vary­ ing moods of glorification and satire, the Jubilee ultimately became en­ tangled in the very threads of Eng­ lish life. The combination of Garrick and Stratford produced a catalyst (Continued on back flap) Garrick's Jubilee Garrick's Jubilee By Martha Winburn England Ohio State University Press Copyright © 1964 by the Ohio State University Press All Rights Reserved Library of Congress Catalogue Card Number: 64-17109 Chapters II and V and portions of Chapters I and III are reprinted from the author's Garrick and Stratford, © 1962, 1964 by The New York Public Library. They are used here by permission of the publisher. A portion of Chapter VI first appeared in Bulletin of the New York Public Library, LXIII, No. 3 (March, 1959) ; and a portion of Chapter VIll in Shakespeare Survey, No. 9 (1956). They are reprinted here by permission of the publishers. To Harry Levin Preface THE LIBRARIES of Harvard University, Yale University, and Queens College, the Folger Shakespeare Library, the New York Public Library, and the archives of the Shakespeare Birthplace Trust have made my work possible.
    [Show full text]
  • Illegitimate Theatre in London, –
    ILLEGITIMATE THEATRE IN LONDON, – JANE MOODY The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK www.cup.cam.ac.uk West th Street, New York, –, USA www.cup.org Stamford Road, Oakleigh, Melbourne , Australia Ruiz de Alarcón , Madrid, Spain © Jane Moody This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Monotype Baskerville /. pt System QuarkXPress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Moody, Jane. Illegitimate theatre in London, ‒/Jane Moody. p. cm. Includes bibliographical references and index. . Theater – England – London – History – th century. Theater – England – London – History – th century. Title. .6 Ј.Ј–dc hardback Contents List of illustrations page ix Acknowledgements xi List of abbreviations xiii Prologue The invention of illegitimate culture The disintegration of legitimate theatre Illegitimate production Illegitimate Shakespeares Reading the theatrical city Westminster laughter Illegitimate celebrities Epilogue Select bibliography Index vii Illustrations An Amphitheatrical Attack of the Bastile, engraved by S. Collings and published by Bentley in . From the Brady collection, by courtesy of the Governing Body of Christ Church, Oxford. page The Olympic Theatre, Wych Street, by R.B. Schnebbelie, . By permission of the Syndics of Cambridge University Library. Royal Coburg Theatre by R.B. Schnebbelie, . By permission of the Syndics of Cambridge University Library. Royal Circus Theatre by Thomas Rowlandson and Augustus Pugin, published by Ackermann in .
    [Show full text]
  • John Larpent Plays
    http://oac.cdlib.org/findaid/ark:/13030/tf1h4n985c No online items John Larpent Plays Processed by Dougald MacMillan in 1939; supplementary encoding and revision by Diann Benti in January 2018. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2000 The Huntington Library. All rights reserved. John Larpent Plays mssLA 1-2503 1 Overview of the Collection Title: John Larpent Plays Dates (inclusive): 1737-1824 Collection Number: mssLA 1-2503 Creator: Larpent, John, 1741-1824. Extent: 2,503 pieces. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection consists of official manuscript copies of plays submitted for licensing in Great Britain between 1737 and 1824 that were in the possession of John Larpent (1741-1824), the examiner of plays, at the time of his death in 1824. The collection includes 2,399 identified plays as well as an additional 104 unidentified pieces including addresses, prologues, epilogues, etc. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.
    [Show full text]
  • The Ballad-Singer in Georgian and Victorian London Oskar Cox Jensen Frontmatter More Information
    Cambridge University Press 978-1-108-83056-0 — The Ballad-Singer in Georgian and Victorian London Oskar Cox Jensen Frontmatter More Information The Ballad-Singer in Georgian and Victorian London For three centuries, ballad-singers thrived at the heart of life in London. One of history’s great paradoxes, they were routinely disparaged and persecuted, living on the margins, yet playing a central part in the social, cultural, and political life of the nation. This history spans the Georgian heyday and Victorian decline of those who sang in the city streets in order to sell printed songs. Focusing on the people who plied this musical trade, Oskar Cox Jensen interrogates their craft and their reper- toire, the challenges they faced and the great changes in which they were caught up. From orphans to veterans, prostitutes to preachers, ballad- singers sang of love and loss, the soil and the sea, mediating the events of the day to an audience of hundreds of thousands. Complemented by sixty-two recorded songs, this study demonstrates how ballad-singers are figures of central importance in the cultural, social, and political processes of continuity, contestation, and change across the nineteenth- century world. Oskar Cox Jensen is a Senior Research Associate at the University of East Anglia. He is the author of Napoleon and British Song, 1797–1822 (2015), co-editor of Charles Dibdin and Late Georgian Culture (2018) and a special forum of Journal of British Studies: ‘Music and Politics in Britain’ (2021), and author of numerous book chapters and articles in journals including Studies in Romanticism.
    [Show full text]
  • Dibdin Family
    Dibdin Family: An Inventory of Its Papers at the Harry Ransom Center Descriptive Summary Creator: Dibdin Family Title: Dibdin Family Papers Dates: 1802-1970 Extent: 4.5 document boxes, 1 oversize box (osb) (2.10 linear feet) Abstract: The Dibdin Family Papers, 1802-1970, consist of clippings, correspondence, legal documents, manuscripts, playbills, photographs, programs, sketches, and a commonplace book that document the activities of this British artistic, literary, musical, and theatrical family. Call Number: Performing Arts Collection PA-00026 Language: English and French Access: Open for research Administrative Information Acquisition: Purchases, gift, 1989-1990 Processed by: Ancelyn Krivak, 2015 Repository: The University of Texas at Austin, Harry Ransom Center Dibdin Family Performing Arts Collection PA-00026 Biographical Sketch Charles Dibdin (1745-1814), composer, musician, actor, and writer, was baptized in Southampton, England in 1745, moved to Winchester as a child, and at age eleven moved to London to live with his older brother Thomas. Dibdin published his first collection of songs in 1763, and the following year his first opera, The Shepherd's Artifice, was staged at Covent Garden with Dibdin himself in the lead role. Dibdin's operas, many of them written in collaboration with Irish playwright Isaac Bickerstaff, were staged at Covent Garden, Drury Lane (under the direction of actor-manager David Garrick), and other English theaters in the 1760s and 1770s. Dibdin often sang character roles in these operas, including the first blackface role in British theater, the servant Mungo in Bickerstaff and Dibdin's The Padlock. Before 1787, he made infrequent appearances on non-operatic musical programs (most notably in 1767, when he gave the first public performance on a piano in Great Britain at Covent Garden), but after that date, the bulk of Dibdin's appearances were as a solo performer, singing his own songs and accompanying himself on the piano.
    [Show full text]