{"id":30,"date":"2024-08-09T08:38:18","date_gmt":"2024-08-09T08:38:18","guid":{"rendered":"https:\/\/hosting2.northumbria.ac.uk\/singafterme\/?page_id=30"},"modified":"2025-03-27T17:35:29","modified_gmt":"2025-03-27T17:35:29","slug":"about","status":"publish","type":"page","link":"https:\/\/hosting2.northumbria.ac.uk\/singafterme\/?page_id=30","title":{"rendered":"About"},"content":{"rendered":"\t\t
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About the Research<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t
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The Research Project<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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‘Sing you now after me\u2019: Catch-Singing and Community in Britain, c.1550-1650<\/i>\u00a0is led by\u00a0Dr Katherine Butler and funded by the British Academy Mid-Career Fellowship scheme. This project aims to fundamentally reshape our understanding of popular, communal, polyphonic singing in\u00a0early modern society through the first comprehensive, book-length study of rounds and catches in Britain\u00a0<\/span>c.1550-1650, and a public engagement programme of participatory catch-singing workshops (see ‘Singing<\/a>‘ above).<\/span><\/p>

Rounds, catches, and canons are simple songs where the same melody is\u00a0<\/span>sung starting at different times,\u00a0<\/span>thereby creating harmony (e.g., songs like\u00a0London\u2019s Burning, Frere Jacques, Campfire’s Burning – listen to some here<\/a><\/span><\/span>). The different terms were used interchangeably in this period,\u00a0<\/span>though canons tended to be more serious and catches lighter. Easily learnt by ear and accessible to a wide.\u00a0<\/span>Easily learnt by ear and accessible to a wide\u00a0<\/span>spectrum of society, rounds\/catches were ubiquitous, encompassing the pastoral, urban or maritime; bawdy,\u00a0<\/span>alcoholic, and religious; theatrical and domestic; work and play. Although largely shared orally, they also began\u00a0<\/span>to be printed and copied in this period. Despite their ubiquity in early modern society, these songs are\u00a0<\/span>peripheral in modern scholarship: musicologists have focused on more complex polyphonic song (e.g.,\u00a0<\/span>madrigals, lute ayres, consort songs), while historians and literary scholars on monophonic ballads\/psalms.\u00a0<\/span>Catches, however, straddle art and popular musics, oral and literate traditions, challenging preconceptions of\u00a0<\/span>part-singing as an exclusively elite practice.<\/span><\/p>

This lack of attention to catch-singing is a significant blind spot in our understanding of everyday, recreational\u00a0music-making and its significance for community building in early modern Britain. Predominantly merry in\u00a0<\/span>disposition, catches spotlight elements of musical life, that are not commonly the primary subject of study, but\u00a0<\/span>are crucial to the pleasures of social music-making: the role of singing in drinking culture , the workings of\u00a0<\/span>musical humour, songs as forms of play, and singing as an act of forging communal identities. Moreover, catch-singing\u00a0<\/span>highlights understudied singing communities including tradesmen, itinerant workers, soldiers, and\u00a0<\/span>sailors. Rounds\/catches are distinct in their brevity and tight construction, which both controls the interplay of\u00a0<\/span>voices and bodies thereby regulating social interactions and provides a framework in which conventions can be\u00a0<\/span>played with. They are distinctively self-reflective, articulating the experiences and values of their singers and\u00a0<\/span>dictating communal physical and musical acts in their lyrics.<\/span><\/p>

Straddling history, musicology, and literature, this study is a ground-breaking reappraisal of singing in harmony\u00a0as a practice inextricably woven through early modern everyday life. Its objectives are to:<\/span><\/p>

  1. unpack the diversity of catch-singing communities and their intersecting characteristics of age, gender, class,\u00a0and trades \u2013 demonstrating catch-singing\u2019s widespread practice and significance. In particular this survey will\u00a0<\/span>challenge the common assumption that catch-singing was an exclusively male activity in this period;<\/span><\/li>
  2. analyse the circulation of songs, understanding the co-dependency of oral and literate transmission, and\u00a0tracing processes of adaptation and contrafacta (i.e., new texts to old tunes);<\/span><\/li>
  3. situate catch-singing within wider song culture: investigating quotations (street cries, popular tunes) and\u00a0intersections with other canonic genres, ballads, and stage songs;<\/span><\/li>
  4. \u00a0assess the functions of these songs in life and on stage: as games, jests, and rituals combining singing with\u00a0drinking, movement, and other noise-making;<\/span><\/li>
  5. demonstrate how singing together in harmony created communities of work, drinking, good fellowship,\u00a0prayer, and learning \u2013 its impact extending beyond the merely musical;<\/span><\/li>
  6. trace changes in the nature, functions, and social status of catch-singing across the period, as influenced by\u00a0increasing musical literacy among the upper classes, the development of tavern culture, expansion of the\u00a0<\/span>printed music market, and impacts of the civil war\/interregnum.<\/span><\/li><\/ol>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    About Me<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    Dr Katherine Butler<\/span><\/h3><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    Katherine Butler is an Associate Professor in the Department of Humanities at Northumbria University (in Newcastle-upon-Tyne, UK) and a British Academy Mid-Career Fellow for 2024\/25.\u00a0<\/p>

    Katherine’s research focuses on the musical culture of sixteenth- and seventeenth-century England, spanning topics including court music, civic pageantry, ballads and popular song, death songs and elegies, music philosophy, mythology, early modern science and medicine, manuscript miscellanies, and music printing.\u00a0\u00a0<\/span><\/p>

    She is the author of\u00a0<\/span>Music in Elizabethan Court Politics<\/i><\/a> (Boydell and Brewer, 2015) and the co-editor of\u00a0<\/span>Music, Myth, and Story in Medieval and Early Modern Culture<\/a>\u00a0<\/i>(2019),\u00a0<\/span>The Heroic and Music<\/i><\/a>\u00a0(2022), and\u00a0<\/span>Byrd Studies in the Twenty-First Century<\/i><\/a>\u00a0(2023).<\/span><\/p>

    \u00a0<\/span>Although never trained as a singer, Katherine has always enjoyed singing in choirs and round the campfire with her Guides, so she is looking forward to singing sixteenth and seventeenth-century catches with as many people as possible over the next year!<\/span><\/p>

    Read more and see full publications list.<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    About the Research The Research Project ‘Sing you now after me\u2019: Catch-Singing and Community in Britain, c.1550-1650\u00a0is led by\u00a0Dr Katherine […]<\/p>\n","protected":false},"author":3,"featured_media":318,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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