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

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dc.contributor.authorKarlsson, Katarina A
dc.date.accessioned2011-11-21T10:39:47Z
dc.date.available2011-11-21T10:39:47Z
dc.date.issued2011-11-21
dc.descriptionThis 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.sv
dc.gup.defencedate2011-12-09
dc.gup.defenceplaceFredagen den 9 december 2011, kl 13.00, Lindgrensalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborgsv
dc.gup.departmentAcademy of Music and Drama ; Högskolan för scen och musiksv
dc.gup.dissdb-fakultetKF
dc.gup.mailkatarina.a.karlsson@hsm.gu.sesv
dc.gup.originGöteborgs universitet. Konstnärliga fakultetenswe
dc.gup.originUniversity of Gothenburg. Faculty of Fine, Applied and Performing Artseng
dc.identifier.isbn978-91-978477-9-7
dc.identifier.urihttp://hdl.handle.net/2077/27997
dc.language.isoengsv
dc.relation.ispartofseriesArtMonitorsv
dc.relation.ispartofseries31sv
dc.subjectThomas Campionsv
dc.subjectlute songssv
dc.subjectfemale personassv
dc.subjectgendersv
dc.subjectsame sex desiresv
dc.subjectmusical interpretationsv
dc.subjectOverburysv
dc.subjectartistic researchsv
dc.subjectarrangements for female vocal quartetsv
dc.titleThink’st thou to seduce me then? Impersonating female personas in songs by Thomas Campion (1567-1620)sv
dc.typeText
dc.type.degreeDoctor of Philosophysv
dc.type.svepDoctoral thesiseng

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1. "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.
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2. "My love hath vow’d" for solo and clavichord. Music & lyrics by Thomas Campion. Live recording.
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3. "Good men show" for solo and organ. Music & lyrics by Thomas Campion.
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4. “Good men show” for vocal quartet. Music & lyrics by Thomas Campion. Arrangement by Katarina A. Karlsson
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5. “Maids are simple” for vocal quartet. Music & lyrics by Thomas Campion. Arrangement by Katarina A. Karlsson
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