In the early 1800s, Jonah Barrington, an Irish judge, bemoaned that the air chosen as the march for the Irish Volunteer Movement had “no merit whatever, being neither grand, nor martial, nor animating,” contrasting it with the zeal of French revolutionary music. The emotional impact of music might be a matter of taste, but such a statement is suggestive of an aesthetics, where political music, or music used for political purposes, should have specific qualities that could be identified and judged by listeners. This article explores how people in late eighteenth- and early nineteenth-century Ireland identified music as political, using theories of the effects and affects of sound during the period and a corpus of Irish political music as an access point into historical experiences of musical enjoyment. While the impacts of music on the body are challenging for historians to retrieve, scholarship from the history of emotions highlights the important role of normative frameworks of emotion in accessing embodied experience. Working from this perspective, this article argues that we can begin to access the sound of politics for audiences of this period, contributing to our understanding of the role of music in political life.

中文翻译：

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十九世纪早期爱尔兰的政治之声

在 1800 年代初期，爱尔兰法官乔纳·巴林顿 (Jonah Barrington) 哀叹，被选为爱尔兰志愿运动进行曲的空气“没有任何优点，既不宏大，也不军事，也不生动”，这与法国大革命的热情形成了鲜明对比。音乐。音乐的情感影响可能是品味问题，但这样的陈述暗示了一种美学，即政治音乐或用于政治目的的音乐应该具有可以被听众识别和判断的特定品质。本文探讨了 18 世纪末和 19 世纪初爱尔兰的人们如何将音乐视为政治性的，利用这一时期声音的影响和影响的理论以及爱尔兰政治音乐的语料库作为进入音乐享受历史体验的入口。虽然音乐对身体的影响对于历史学家来说具有挑战性，但情感史的学术研究强调了情感规范框架在获得具身体验方面的重要作用。本文从这个角度出发，认为我们可以开始为这一时期的观众获取政治之声，有助于我们理解音乐在政治生活中的作用。