This paper will focus on sixteenth-century weaver and wedding singer Jonas Losch of Augsburg as a focal point for examining craftsmen in Germany who moonlighted as singers, offering both formal and informal entertainment in the streets, pubs, and other informal spaces of early modern German towns. Because songs were one of the few ways that artisans of lower status were able to make their voices heard, their songs were often political, socially critical, or even subversive, although many of these artisan singers also performed at weddings or in other non-political venues. In a process recognizable to a modern audience, sharing songs of protest provided a vehicle for building and solidifying group political identity and politicizing the spaces in which they were performed. The setting of political songs to familiar tunes associated with Protestant or Catholic identity increased the potential for eliciting emotional reactions and inflaming passions among listeners, which could lead to conflict. Because sound also penetrated windows, walls, and thresholds, songs could temporarily redefine spatial boundaries. The networks of artisan singers who wrote, copied, and shared these songs created political space for a lively public sphere of opinion among the artisan classes of the sixteenth and seventeenth centuries.

中文翻译：

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作为社交媒体的歌曲：近代早期德国的街头歌曲和政治社交


本文将重点关注 16 世纪奥格斯堡的织工和婚礼歌手乔纳斯·洛施 （Jonas Losch），作为研究德国工匠的焦点，他们兼职成为歌手，在街道、酒吧和早期现代德国城镇的其他非正式空间提供正式和非正式的娱乐活动。因为歌曲是地位较低的工匠能够让他们的声音被听到的少数方式之一，所以他们的歌曲往往是政治性的、社会批判性的，甚至是颠覆性的，尽管这些工匠歌手中的许多人也在婚礼或其他非政治场所表演。在一个现代观众可以识别的过程中，分享抗议歌曲为建立和巩固群体政治身份以及将表演空间政治化提供了工具。将政治歌曲设置为与新教或天主教身份相关的熟悉曲调会增加在听众中引发情绪反应和煽动激情的可能性，这可能导致冲突。因为声音也会穿透窗户、墙壁和门槛，所以歌曲可以暂时重新定义空间边界。创作、复制和分享这些歌曲的工匠歌手网络为 16 世纪和 17 世纪工匠阶级中活跃的公共舆论领域创造了政治空间。