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CHARLES DIBDIN and LATE GEORGIAN CULTURE Comp Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 1 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi CHARLES DIBDIN AND LATE GEORGIAN CULTURE Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 2 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 3 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Charles Dibdin and Late Georgian Culture Edited by OSKAR COX JENSEN DAVID KENNERLEY and IAN NEWMAN 1 Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 4 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi 3 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © the several contributors 2018 The moral rights of the authors have been asserted First Edition published in 2018 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2017947453 ISBN 978–0–19–881242–5 Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Links to third party websites are provided by Oxford in good faith and for information only. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work. Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 5 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Foreword Roger Parker The ERC-funded project from which this book derives had, at its start in 2013, some bracingly ambitious aspirations. Called ‘Music in London, 1800–1851’, it aimed to construct a wide-ranging interdisciplinary history of its chosen topic, in the process contributing to a new kind of music history. The rationale behind this plan was that previous institutional accounts of Western music-making have mostly—there are of course exceptions—focused on elite culture; whereas ‘Music in London’ had as its focus a period and a city which, for both material and aesthetic reasons, offered excellent opportunities for exploring a broader and more inclusive kind of history. Music-making in nineteenth-century London, involving as it did a populace of unprecedented size and affluence, functioned as a widely- based industry, providing much professional employment and featuring in the education of many an amateur; it also contributed to private and public enjoyment, became a source of boredom and occasional irritation, and fostered the creation of a host of cultural, political, and imagined communities. A history that took seriously all of these functions might enable twenty-first-century scholars from many fields to understand more fully music’s affective presence in nineteenth-century society. Needless to say, the wider project has of necessity been anything but all- inclusive. Certain common themes among its activities have, however, grown to be significant, and one of the most important has been the emergence of a historical approach that tends to erode the usual barriers between what are now usually called ‘elite’ and ‘popular’ culture. This has become a focus of many of the project’s major activities, but in none has it been more central than the present volume. Indeed, the career of Charles Dibdin might offer something like a one-man illustration of the fruitfulness of mobility between cultural levels: a mobility that, later in the nineteenth century, would become increasingly difficult to achieve, because increasingly imbued with negative associations. In this sense, it is both necessary and important that this book’s contributors themselves come from a range of academic disciplines, thus illustrating the kind of eclecticism of purview that made Dibdin himself such a potent force during his career, without relinquishing the benefits of specialization that made him such an object of nostalgia in the long afterlife of his achievements. Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 6 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 7 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Acknowledgements There is a chance that Charles Dibdin would have approved of this book. As both an inveterate—albeit cantankerous—collaborator, and an autodidact in a remark- able number of professional fields, he would, perhaps, have applauded our study of his cultural world, part of the five-year project ‘Music in London, 1800–1851’, led by Roger Parker at King’s College London, and conducted from the first in a spirit of open and enthusiastic collaboration between scholars of at least six disciplines. And since Dibdin’s perennial suspicion of governments, ministries, and their schemes does not appear to have prevented him from accepting institutional funding, he might even have welcomed the generous support of the body that has made this project possible, the European Research Council. The two-day workshop at which this volume was refined, in November 2014, was also the fruit of transatlantic cooperation, held jointly at the University of Notre Dame’s London Center, and King’s College London’s Strand Campus. We would like to thank the staff of both institutions for their help and hospitality, and the Notre Dame College of Arts and Letters and the Institute for Scholarship in the Liberal Arts for their financial support. Above all, we are in the debt of Angela Waplington, the peerless administrator of the ‘Music in London’ project. Besides the contributors to this book, that workshop benefited immeasurably from the presence of further friends and colleagues, and we are eternally grateful for the energy and insights of Jeremy Barlow, Jacky Bratton, James Grande, Katherine Hambridge, Jonathan Hicks, Ian Honeyman, Eric Lewis, and Gavin Williams. As the book assumed its final shape, our various contributors have been helped and guided by others outside these pages, and so we owe our collective thanks to the advice and support of John Barrell, Anna Maria Barry, Olivia Bloechl, Jeanice Brooks, Kathryn Gleadle, Bob Harris, Carmen Holdsworth-Delgado, Essaka Joshua, Greg Kucich, Pollyana Lutz, Marcus Risdell, and Roxann Wheeler. We owe a further debt to numerous institutions, especially those that have granted permission to reproduce images held in their collections: the British Library, the British Museum, the Casa Goldoni Museum of Venice, The Garrick Club, Harvard’s Houghton Library, the National Maritime Museum, the Theatre Museum of London, and the Victoria and Albert Museum. As contributors, and perhaps especially as editors, we would like to thank our anonymous readers, and also Jacqueline Norton, Catherine Owen, and Aimee Wright of Oxford University Press, and our copy-editor Ian Brookes, for their expert and keen-eyed assistance. Unending thanks go to Roger Parker as instigator of the wider project and pioneer of its working methods. Above all, the three editors can only begin to express their gratitude to their collaborators in this venture: never can there have been such a generous—and efficient!—set of contributors as may be found within these pages. Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 8 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 9 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Contents List of Figures xi List of Examples xv List of Tables xvii List of Abbreviations xix List of Contributors xxi A Chronology of Charles Dibdin xxv 1. Introducing Mr Dibdin 1 Ian Newman, Oskar Cox Jensen, David Kennerley PART I. DIBDIN IN CONTEXT 2. ‘Mungo Here, Mungo There’: Charles Dibdin and Racial Performance 23 Felicity Nussbaum 3. Dibdin at the Royal Circus 43 Michael Burden Interlude 1. Dibdin and Robert Bloomfield: Voicing the Clown in Town 59 Katie Osborn 4. The Detail is in The Devil: Dibdin’s Patriotism in the 1780s 64 David O’Shaughnessy 5. Loyalism, Celebrity, and the Politics of Personality: Dibdin in the 1790s 78 David Kennerley 6. Dibdin and the Dilettantes 94 Judith Hawley Interlude 2. Dibdin and Jane Austen: Musical Cultures of Gentry Women 108 Nicola Pritchard-Pink PART II. SONGS IN FOCUS 7. ‘True Courage’: A Song in History 115 Oskar Cox Jensen 8. A Motley Assembly: ‘The Margate Hoy’ 137 Harriet Guest Interlude 3.
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