David Kennerley – författare

Between 1780 and 1850, the growing prominence of female singers in Britain's professional and amateur spheres opened a fraught discourse about women's engagement with musical culture. Protestant evangelical gender ideology framed the powerful, well-trained, and expressive female voice as a sign of inner moral corruption, while more restrained and delicate vocal styles were seen as indicative of the performer's virtuous femininity. Yet far from everyone was of this persuasion, and those from alternative class and religious milieux responded in more affirmative ways to the sound of professional female voices. The meanings listeners ascribed to women's voices reflect crucial developments in the musical world of the period, such as the popularity of particular genres with audiences of certain social backgrounds, and the reasons underpinning the development of prevalent types of nineteenth-century professional female vocality.Sounding Feminine traces the development of attitudes towards the female voice that have decisively shaped modern British society and culture. Arguing for the importance of the aural dimension of the past, author David Kennerley draws from a variety of fields-including sound studies, sensory histories, and gender theory-to examine how audiences heard different kinds of femininities in the voices of British female singers. Sounding Feminine explores the intense divisions over the "correct" use of the female voice, and the intricate links between gender, nationality, class, and religion in ascribing status, purpose, and morality to female singing. Through this lens, Kennerley also explores the formation of British middle-class identities and the cultural impact of the evangelical revival-deepening our understanding of this period of transformational change in British culture.

Between 1780 and 1850, the growing prominence of female singers in Britain''s professional and amateur spheres opened a fraught discourse about women''s engagement with musical culture. Protestant evangelical gender ideology framed the powerful, well-trained, and expressive female voice as a sign of inner moral corruption, while more restrained and delicate vocal styles were seen as indicative of the performer''s virtuous femininity. Yet far from everyone was of this persuasion, and those from alternative class and religious milieux responded in more affirmative ways to the sound of professional female voices. The meanings listeners ascribed to women''s voices reflect crucial developments in the musical world of the period, such as the popularity of particular genres with audiences of certain social backgrounds, and the reasons underpinning the development of prevalent types of nineteenth-century professional female vocality.Sounding Feminine traces the development of attitudes towards the female voice that have decisively shaped modern British society and culture. Arguing for the importance of the aural dimension of the past, author David Kennerley draws from a variety of fields-including sound studies, sensory histories, and gender theory-to examine how audiences heard different kinds of femininities in the voices of British female singers. Sounding Feminine explores the intense divisions over the "correct" use of the female voice, and the intricate links between gender, nationality, class, and religion in ascribing status, purpose, and morality to female singing. Through this lens, Kennerley also explores the formation of British middle-class identities and the cultural impact of the evangelical revival-deepening our understanding of this period of transformational change in British culture.

Between 1780 and 1850, the growing prominence of female singers in Britain''s professional and amateur spheres opened a fraught discourse about women''s engagement with musical culture. Protestant evangelical gender ideology framed the powerful, well-trained, and expressive female voice as a sign of inner moral corruption, while more restrained and delicate vocal styles were seen as indicative of the performer''s virtuous femininity. Yet far from everyone was of this persuasion, and those from alternative class and religious milieux responded in more affirmative ways to the sound of professional female voices. The meanings listeners ascribed to women''s voices reflect crucial developments in the musical world of the period, such as the popularity of particular genres with audiences of certain social backgrounds, and the reasons underpinning the development of prevalent types of nineteenth-century professional female vocality.Sounding Feminine traces the development of attitudes towards the female voice that have decisively shaped modern British society and culture. Arguing for the importance of the aural dimension of the past, author David Kennerley draws from a variety of fields-including sound studies, sensory histories, and gender theory-to examine how audiences heard different kinds of femininities in the voices of British female singers. Sounding Feminine explores the intense divisions over the "correct" use of the female voice, and the intricate links between gender, nationality, class, and religion in ascribing status, purpose, and morality to female singing. Through this lens, Kennerley also explores the formation of British middle-class identities and the cultural impact of the evangelical revival-deepening our understanding of this period of transformational change in British culture.

Charles Dibdin (1745-1814) was one of the most popular and influential creative forces in late Georgian Britain, producing a diversity of works that defy simple categorisation. He was an actor, lyricist, composer, singer-songwriter, comedian, theatre-manager, journalist, artist, music tutor, speculator, and author of novels, historical works, polemical pamphlets, and guides to musical education. This collection of essays illuminates the social and cultural conditionsthat made such a varied career possible, offering fresh insights into previously unexplored aspects of late Georgian culture, society, and politics.Tracing the transitions in the cultural economy from an eighteenth-century system of miscellany to a nineteenth-century regime of specialisation, Charles Dibdin and Late Georgian Culture illustrates the variety of Dibdin''s cultural output as characteristic of late eighteenth-century entertainment, while also addressing the challenge mounted by a growing preoccupation with specialisation in the early nineteenth century.The chapters, written by some of the leading experts in their individual disciplines, examine Dibdin''s extraordinarily wide-ranging career, spanning cultural spaces from the theatres at Drury Lane and Covent Garden, through Ranelagh Gardens, Sadler''s Wells, and the Royal Circus, to singing on board ships and in elegant Regency parlours; from broadside ballads and graphic satires, to newspaper journalism, mezzotint etchings, painting, and decorative pottery. Together they demonstrate connectionsbetween forms of cultural production that have often been treated as distinct, and provide a model for a more integrated approach to the fabric of late Georgian cultural production.

Charles Dibdin (1745-1814) was one of the most popular and influential creative forces in late Georgian Britain, producing a diversity of works that defy simple categorisation. He was an actor, lyricist, composer, singer-songwriter, comedian, theatre-manager, journalist, artist, music tutor, speculator, and author of novels, historical works, polemical pamphlets, and guides to musical education. This collection of essays illuminates the social and cultural conditionsthat made such a varied career possible, offering fresh insights into previously unexplored aspects of late Georgian culture, society, and politics.Tracing the transitions in the cultural economy from an eighteenth-century system of miscellany to a nineteenth-century regime of specialisation, Charles Dibdin and Late Georgian Culture illustrates the variety of Dibdin''s cultural output as characteristic of late eighteenth-century entertainment, while also addressing the challenge mounted by a growing preoccupation with specialisation in the early nineteenth century.The chapters, written by some of the leading experts in their individual disciplines, examine Dibdin''s extraordinarily wide-ranging career, spanning cultural spaces from the theatres at Drury Lane and Covent Garden, through Ranelagh Gardens, Sadler''s Wells, and the Royal Circus, to singing on board ships and in elegant Regency parlours; from broadside ballads and graphic satires, to newspaper journalism, mezzotint etchings, painting, and decorative pottery. Together they demonstrate connectionsbetween forms of cultural production that have often been treated as distinct, and provide a model for a more integrated approach to the fabric of late Georgian cultural production.

Charles Dibdin (1745-1814) was one of the most popular and influential creative forces in late Georgian Britain, producing a diversity of works that defy simple categorisation. He was an actor, lyricist, composer, singer-songwriter, comedian, theatre-manager, journalist, artist, music tutor, speculator, and author of novels, historical works, polemical pamphlets, and guides to musical education. This collection of essays illuminates the social and cultural conditions that made such a varied career possible, offering fresh insights into previously unexplored aspects of late Georgian culture, society, and politics.Tracing the transitions in the cultural economy from an eighteenth-century system of miscellany to a nineteenth-century regime of specialisation, Charles Dibdin and Late Georgian Culture illustrates the variety of Dibdin's cultural output as characteristic of late eighteenth-century entertainment, while also addressing the challenge mounted by a growing preoccupation with specialisation in the early nineteenth century. The chapters, written by some of the leading experts in their individual disciplines, examine Dibdin's extraordinarily wide-ranging career, spanning cultural spaces from the theatres at Drury Lane and Covent Garden, through Ranelagh Gardens, Sadler's Wells, and the Royal Circus, to singing on board ships and in elegant Regency parlours; from broadside ballads and graphic satires, to newspaper journalism, mezzotint etchings, painting, and decorative pottery. Together they demonstrate connections between forms of cultural production that have often been treated as distinct, and provide a model for a more integrated approach to the fabric of late Georgian cultural production.