Harmony and unanimity? – the bourgeois self-image of the Canterbury Catch Club
Price, C. 2016. Harmony and unanimity? – the bourgeois self-image of the Canterbury Catch Club.
The Canterbury Catch Club is a particularly well-documented example of a national phenomenon: musical clubs and societies, in which gentlemen ate, drank, smoked, socialised and sang in more or less equal measure, were immensely popular throughout Britain in the late 18th and for much of the 19th century. They were a formalised incarnation of the much less respectable, tavern-based, informal gatherings well known to the British drinking classes (that is, everyone) since before the time of Shakespeare, whose low-life characters (Falstaff, Toby Belch, and the like) inhabit that somewhat disreputable world. Later writers testify to the popularity of singing in alcoholic contexts, with varying degrees of disdain: Dickens and Thackeray took good-humoured views of these gatherings, while other, more musical, diarists such as John Marsh and RJS Stevens are less well-disposed. This paper takes these writers as points of reference.
|Conference||The Musical Salon in Visual Culture; 16th Association Répertoire International d’Iconographie Musicale Conference|
|Publication process dates|
|Deposited||13 Jan 2017|
|Completed||09 Sep 2016|
|Accepted author manuscript|
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