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Think’st thou to seduce me then? Impersonating female personas in songs by Thomas Campion (1567-1620)


Please use this identifier to cite or link to this item: http://hdl.handle.net/2077/27997

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gupea_2077_27997_5.m4a1. "Music for a while" for solo and vocal ensemble. Music by H. Purcell. Arrangement by Gunnar Eriksson. Performed by the Rilke Ensemble. Used with kind permission from Proprius/Prophone.7754KbMPEG-4 audioView/Open
gupea_2077_27997_6.m4a2. "My love hath vow’d" for solo and clavichord. Music & lyrics by Thomas Campion. Live recording.6613KbMPEG-4 audioView/Open
gupea_2077_27997_7.m4a3. "Good men show" for solo and organ. Music & lyrics by Thomas Campion.3294KbMPEG-4 audioView/Open
gupea_2077_27997_8.m4a4. “Good men show” for vocal quartet. Music & lyrics by Thomas Campion. Arrangement by Katarina A. Karlsson3143KbMPEG-4 audioView/Open
gupea_2077_27997_9.m4a5. “Maids are simple” for vocal quartet. Music & lyrics by Thomas Campion. Arrangement by Katarina A. Karlsson2370KbMPEG-4 audioView/Open
gupea_2077_27997_10.m4a6. “Young and simple” for solo and clavichord. Music & lyrics by Thomas Campion3461KbMPEG-4 audioView/Open
gupea_2077_27997_11.m4a7. “Oft have I sigh’d” for solo and guitar. Music & lyrics by Thomas Campion5954KbMPEG-4 audioView/Open
gupea_2077_27997_12.m4a8. “Oft have I sigh’d” for vocal quartet. Music & lyrics by Thomas Campion and Katarina A. Karlsson. Arrangement by K.A. Karlsson8883KbMPEG-4 audioView/Open
gupea_2077_27997_13.m4a9. “O love, were are thy shafts?” for solo and clavichord. Music & lyrics by Thomas Campion3797KbMPEG-4 audioView/Open
gupea_2077_27997_14.m4a10. “O love, were are thy shafts?” for solo and guitar (guitarist, Thomas Melin). Music & lyrics by Thomas Campion4232KbMPEG-4 audioView/Open
gupea_2077_27997_15.m4a11. “Första dage”n for solo and guitar (guitarist, Mats Bergström). Music & lyrics by Katarina A. Karlsson. Guitar arrangement by Mats Bergström. Used with kind permission from Proprius/Prophone6606KbMPEG-4 audioView/Open
gupea_2077_27997_16.m4a12. “Första dagen” for solo and guitar (guitarist Thomas Melin). Music & lyrics by Katarina A. Karlsson. Guitar arrangement by Thomas Melin7086KbMPEG-4 audioView/Open
gupea_2077_27997_17.m4a13. “Så hemskt, så hårt, så hett” (So quick, so hot, so mad) for solo and clavichord. Music & lyrics by Thomas Campion. Swedish translation by K.A. Karlsson. Live recording4223KbMPEG-4 audioView/Open
gupea_2077_27997_18.m4a14. “En hemlig älskare eller två” (A secret love or two) for vocal quartet. Music & lyrics by Thomas Campion. Swedish translation by K.A. Karlsson. Live recording3067KbMPEG-4 audioView/Open
gupea_2077_27997_19.m4a15. “Vill du veta vad kärlek är?” (If thou long’st so much to learn) for solo and clavichord. Music & lyrics by Thomas Campion. Swedish translation by K.A. Karlsson4819KbMPEG-4 audioView/Open
gupea_2077_27997_20.m4a16. ”Vill du veta vad kärlek är?” (If thou long’st so much to learn) for solo and guitar (guitarist Thomas Melin). Music & lyrics by Thomas Campion. Guitar arrangement by Thomas Melin. Swedish translation by K.A. Karlsson5356KbMPEG-4 audioView/Open
gupea_2077_27997_21.m4a17. ”Snygg ska han va!” (Fain would I wed) for solo and organ. Music & lyrics by Thomas Campion. Swedish translation by K.A. Karlsson. Live recording4240KbMPEG-4 audioView/Open
gupea_2077_27997_22.m4a18. “Fain would I wed” for vocal quartet. Music & lyrics by Thomas Campion. Arrangement by K.A. Karlsson3358KbMPEG-4 audioView/Open
gupea_2077_27997_23.m4a19. “So many loves have I neglected” for solo and clavichord. Music & lyrics by Thomas Campion. Live recording5408KbMPEG-4 audioView/Open
gupea_2077_27997_24.m4a20. “So many loves have I neglected” for vocal quartet. Music & lyrics by Thomas Campion. Arrangement by K.A. Karlsson6291KbMPEG-4 audioView/Open
gupea_2077_27997_25.m4a21. “Think’st thou to seduce me then?” for solo and clavichord. Music & lyrics by Thomas Campion. Live recording3776KbMPEG-4 audioView/Open
gupea_2077_27997_26.m4a22. “Dumma gosse, ser du ej?” (Silly boy, ‘tis fulmoon yet) for solo and clavichord. Music & lyrics by Thomas Campion. Swedish translation by K.A. Karlsson2942KbMPEG-4 audioView/Open
gupea_2077_27997_27.m4a23. “Never Love unless you can” for solo and clavichord. Music & lyrics by Thomas Campion2491KbMPEG-4 audioView/Open
gupea_2077_27997_28.m4a24. “Jacobean pastiche” for solo and guitar (guitarist, Thomas Melin). Music & lyrics by Katarina A. Karlsson. Guitar arrangement by Thomas Melin2379KbMPEG-4 audioView/Open
gupea_2077_27997_29.pdfContents CD Katarina a Karlsson15KbAdobe PDF
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gupea_2077_27997_31.pdfThesis Katarina A Karlsson4481KbAdobe PDF
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gupea_2077_27997_32.pdfErrata Katarina A Karlsson485KbAdobe PDF
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Title: Think’st thou to seduce me then? Impersonating female personas in songs by Thomas Campion (1567-1620)
Authors: Karlsson, Katarina A
E-mail: katarina.a.karlsson@hsm.gu.se
Issue Date: 21-Nov-2011
University: Göteborgs universitet. Konstnärliga fakulteten
University of Gothenburg. Faculty of Fine, Applied and Performing Arts
Institution: Academy of Music and Drama ; Högskolan för scen och musik
Date of Defence: 2011-12-09
Disputation: Fredagen den 9 december 2011, kl 13.00, Lindgrensalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg
Degree: Doctor of Philosophy
Publication type: Doctoral thesis
Series/Report no.: ArtMonitor
31
Keywords: Thomas Campion
lute songs
female personas
gender
same sex desire
musical interpretation
Overbury
artistic research
arrangements for female vocal quartet
ISBN: 978-91-978477-9-7
Description: This dissertation is in the field of Artistic Research in Music Interpretation. It is a study of songs with female personas written by Thomas Campion, investigated through performance practice and a critical reading of historical research carried out on the English Renaissance. The study is inspired by gender- and queer theory and looks at the function of the songs within their socio-cultural context. Since the songs seems to have been used and performed in a homosocial society, the study also discusses the possibility of male bonding and same-sex desire as part of the songs’ hidden or overt messages. The dissertation consists of a thesis in two parts, a newly-made transcription from the original lute tablature of the fourteen chosen songs, and a CD-recording, documenting different modes of interpretation, including the following accompaniments for the songs: a clavichord, tuned in meantone, a positive organ tuned in meantone, a modern guitar and a female vocal quartet. Four of the arrangements for female vocal quartet are also included in the transcription appendix. The aim of the dissertation is to find out how the songs worked in their society and what impact their historical function can have on a contemporary musical practice. The aim is also to find hidden layers of the songs and try to make these layers come alive in musical practice today. The act of singing is used as means of inquiry. Part II of the thesis describes how a singer can work with contradicting stories behind the songs in order to make the music come alive. In the transcriptions, discrepancies between earlier editions and Campion’s original music have also been found and corrected.
URI: http://hdl.handle.net/2077/27997
Appears in Collections:Doctoral thesis/Doktorsavhandlingar/Konstnärliga fakulteten
ArtMonitor/Konstnärliga fakulteten
Doctoral Theses / Doktorsavhandlingar Högskolan för scen och musik
Doctoral Theses from University of Gothenburg / Doktorsavhandlingar från Göteborgs universitet

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