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Music As Political Propaganda in Seventeenth-Century England

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Music As Political Propaganda in Seventeenth-Century England THE CATHOLIC UNIVERSITY OF AMERICA “In all the Factious Humours You Have Bred”: Music as Political Propaganda in Seventeenth- Century England A DISSERTATION Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy by Joseph Arthur Mann Washington, D.C. 2017 “In all the Factious Humours You Have Bred”: Music as Political Propaganda in Seventeenth- Century England Joseph Arthur Mann, Ph.D. Director: Andrew H. Weaver, Ph.D. Abstract Music is one of the core elements of human culture. As ubiquitous as language and as fundamentally important, music is not neatly partitioned into one corner of the cultural framework of a society. It is impossible to fully understand a historical period and culture without understanding how music functioned and what music meant to the adherents of that culture. England in the seventeenth century is no exception, and the centrality of seventeenth- century English culture in shaping the modern world makes understanding the ideas and historical events of the period important not only for our understanding of that time, but also for our understanding of our own time. Though many works have documented musical culture over the course of the seventeenth century in England, scholars have yet to consider broadly how music influenced the political climate of the century. Therefore, this dissertation gathers all extant printed sources from early modern England that include, relate to, or discuss music and analyzes them for propagandistic content. In doing so, it proves that music functioned as political propaganda consistently throughout the seventeenth century in England to advance numerous political causes for diverse political groups. Musicians defended their profession and reputations with it. Parliamentarians attacked the Church of England and Royalists with it. Supporters of the Commonwealth used it to defend and establish a Puritan orthodoxy, while Royalists used it to maintain their cultural identity. Music served as public-image propaganda for the Restoration monarchies, and the Church of England used music to market their denomination to a post-Toleration Act marketplace of religious consumers who were no longer legally required to be members of the Anglican congregation. By exposing the intimate and consistent connections between music and political activity across the seventeenth century in England, this work offers new insights into the meaning and function of music in early modern England. Music could serve devotion and praise, it could entertain and provide solace, but it could also be used to manipulate readers and listeners, a fact that this dissertation proves was well known and consistently utilized by propagandists in early modern England. This dissertation by Joseph Arthur Mann fulfills the dissertation requirement for the doctoral degree in Musicology approved by Andrew H. Weaver, Ph.D., as Director, and by G. Grayson Wagstaff, Ph.D., and Tobias B. Gregory, Ph.D. as Readers. ________________________ Andrew H. Weaver, Ph.D., Director ___________________________ G. Grayson Wagstaff, Ph.D., Reader ___________________________ Tobias B. Gregory, Ph.D., Reader ii The Dedication to Her Most Beloved Majesty, my wife, Shin Hyue Illustri ac venerabili viro, my brother, Jason The Ever Caring and Loving, my mother, Cynthia The Prime Conversant of Blessed Memory, my grandmother, Dolores The Right Peaceful Craftsman of Blessed Memory, my grandfather, Arthur and The Most Worshipful, Honorable, and High, my aunt, Charlene Most beloved family, to you I owe all thanks for every happiness in my life. How much of us is made of those around us we cannot say, yet I can say I would not be the person I am without you, nor would my life be as rich and full. Here, then, I offer this work to you, my dear family, as a representation of my gratitude and eternal debt for the life you have given me. Let every letter on every page be a “thank you” and every word they spell be “love.” iii Table of Contents Signature Page ii Dedication iii Table of Contents iv Acknowledgments v Chapter 1: Introduction 1 Chapter 2: Music Publication as Public Image Propaganda, 1565-1639 50 Chapter 3: Music as Identity Politics in the English Civil Wars, 1640-1649 96 Chapter 4: Orthodoxy and Cultural Identity through Music in the English Interregnum 157 Chapter 5: Supporting the Monarchy and the Church of England during the Restoration 230 Chapter 6: Music as Propaganda for the Church of England after the Toleration Act 285 Conclusion 309 Appendices 315 Bibliography 358 iv Acknowledgments Having thanked my family in the dedication, I aim here to thank three individuals who have been most helpful, generous, and influential guides to the success of this work specifically and to my success in general as a graduate student at The Catholic University of America. To Dr. Andrew Weaver I owe endless thanks for his guidance as my advisor, for his service as my dissertation committee chair, for never refusing to help when I asked for it, for always offering his full attention and detailed critical analysis when reviewing my work, for his consideration in suggesting actions or opportunities that would help advance my career, for introducing me to many senior scholars in my field, for his sincere and meaningful praise, for writing numerous tailored recommendation letters and looking over job documents, for asking me to design and teach Music and Art in the Catholic Tradition, for all of the things I am sure he has done to help me of which I have never been aware, and for all of his time, help, and consideration in general. It has been an honor to work with a scholar-educator as humble, ethical, accomplished, able, and dedicated as Dr. Weaver. I also wish to extend my sincere thanks and high regards to Dean Grayson Wagstaff. As dean, he could easily justify taking no notice of just another graduate student like me, considering the never-ending responsibilities and commitments of his position. Yet, from my earliest days at CUA I have always been impressed by his generosity, his desire to help, and his thoughtful consideration of not just myself but every other student in the School of Music. As with Dr. Weaver, I am certain that Dean Wagstaff has helped me in countless ways of which I will never be aware. I wish to thank him specifically for his service on my dissertation committee, for his insightful comments and suggestions on my dissertation and conference v presentations, for always being willing to help me find employment, for writing numerous recommendation letters, for making paleography one of the most valuable courses I took at CUA, and for being a model scholar-administrator from whom I have learned much. With equal admiration, respect, and gratitude, I wish to thank Dr. Tobias Gregory. I owe my minor in English largely to Dr. Gregory, who proved his generosity by allowing me to undertake it in the first place. I am likewise grateful for his willingness to serve on my dissertation committee, for all of his thoughts and advice on a number of my scholarly endeavors, for helping me to think more deeply and communicate more clearly, for welcoming me into the world of English literature and helping me find a place there, and for a constant enthusiasm and energy that is admirable. I wish I knew him better; I am sure I would have many more reasons to thank him if I were so lucky. vi Chapter 1: Introduction I. Introduction Music was everywhere in seventeenth-century English daily life. From broadside ballads on the street, unison psalm singing in Calvinist-influenced Protestant services and private recreation, instrumental and choral music in the cathedrals and in any parish that could afford them, and music of all kinds at the theatres, to the private music of the educated upper-class and nobility, music was universally enjoyed (with a few notable exceptions, e.g. the Quakers) and served important functions within early modern English society. At the same time, seventeenth- century England was anything but unified politically, and numerous groups fought with the pen and sword for domination of the kingdom. Though many works have documented how music, and ideas about music, changed over the course of the seventeenth century in England, scholars of music and politics have largely focused on how the politics of the century influenced the practice and production of the music of the period rather than on how music was specifically used to influence the politics of the time. Another significant limitation of the current scholarship on music and politics in early modern England is that almost all of the current secondary sources address localized examples, such as the music and politics of the Elizabethan court, or the political content of The Triumphes of Oriana, which has resulted in a fragmented perspective of the century.1 At this early stage in the development of scholarship on this topic, however, such a fragmented perspective is perhaps unavoidable. At the same time, these unavoidable gaps in our perspective have left many 1 Angela J. McShane, Political Broadside Ballads of Seventeenth-Century England: A Critical Bibliography (London: Pickering & Chatto, 2011); Katherine Butler, Music in Elizabethan Court Politics (Rochester: Boydell, 2015) are two of the most extensive and recent additions to the topic of music and politics in early modern England. For an extensive list of secondary sources on music and politics in early
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