Indeed, one acknowledged source of inspiration for Williams’s study proves to be the literary scholar Bruce R. I, for one, certainly welcome this recognition that music needs to be integrated more fully into the “big picture” of history-cultural, social, and intellectual-and also, perhaps more appropriately than this visual metaphor allows, as part of the “soundscapes” of the past. That is to say, they hope that historians in general (rather than just music historians, I presume) will begin to realize the value of taking music more fully into consideration in their quest to deepen our understanding of past cultures.
” With its tight focus on a subset of surviving seventeenth-century English broadside ballads, and on the sounds with which this body of printed texts is associated, Williams’s book represents in microcosm what the H-Music editors would like to see happening within the historical community at large. Reviewed by Penelope Gouk (University of Manchester)Īs I will elaborate in the course of this review, Sarah F. Williams’s Damnable Practises: Witches, Dangerous Women, and Music in Seventeenth-Century English Broadside Ballads offers a step toward narrowing what the founders of the new H-Net Commons Network H-Music describe as the “astounding . gap between the role that music has played (and continues to play) in history and the role it plays in most mainstream historical scholarship. Damnable Practises: Witches, Dangerous Women, and Music in Seventeenth-Century English Broadside Ballads.
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