A naval chaplain in the 1790s, a radical arrested after Peterloo, and a smash hit of blackface minstrelsy: these three disparate historical actors all provide exemplary cases of music in action, playing upon the political passions of the British people. Thinking across the three examples, this article reflects upon the aims of the forum Music and Politics in Britain, c.1780–1850, as well as advancing its own autonomous argument. Alexander Duncan was drummed out of the navy for publishing a pamphlet advocating the use of martial music in action; inspired by the French, Duncan was effectively arguing for a democratization of Britain's servicemen by playing upon their passions. The potential for subversion inherent in this approach was borne out by the career of Samuel Bamford, a Lancashire weaver; music was central to Bamford's activism, and I chart the functional ends to which he deployed music around 1819. In a third instance, with the 1840s hit “Buffalo Gals,” music led to public disorder. The song, due in large part to its musical qualities, enabled forms of licentious behavior among white males that mobilized latent forms of gendered as well as racial prejudice, so that its performance came to excuse forms of sexual harassment.

中文翻译：

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音乐的某些后果：反应，改革，种族

1790 年代的海军牧师，在彼得鲁之后被捕的激进分子，以及黑脸吟游诗人的红极一时：这三位不同的历史演员都提供了音乐在行动中的模范案例，发挥了英国人民的政治激情。考虑到这三个例子，本文反思了 1780-1850 年英国音乐与政治论坛的目标，并推进了它自己的自主论点。亚历山大·邓肯（Alexander Duncan）因为出版了一本提倡在行动中使用武术的小册子而被逐出海军；受到法国人的启发，邓肯通过发挥他们的热情，有效地主张英国军人的民主化。兰开夏郡织布工塞缪尔·班福德 (Samuel Bamford) 的职业证明了这种方法固有的颠覆潜力。音乐是班福德激进主义的核心，我绘制了他在 1819 年左右部署音乐的功能目标。在第三种情况下，随着 1840 年代的热门歌曲“Buffalo Gals”，音乐导致了公共秩序混乱。这首歌在很大程度上归功于它的音乐品质，使得白人男性的放荡行为成为可能，这些行为调动了潜在的性别和种族偏见形式，因此它的表演成为了性骚扰形式的借口。