Concerto for Piano and Ensemble (On a Theme by Thomas Campion)

2011 ◽  
Author(s):  
Marco Alunno
Keyword(s):  
Thomas Campion

Thomas Campion: Lyrick-Doctor in Physicke

JAMA ◽  
1969 ◽  
Vol 208 (1) ◽  
pp. 115 ◽  
Author(s):  
Paul J. Davis
Keyword(s):  
Thomas Campion

scholarly journals Solmização: um estudo sistemático de seu ensino a partir de fontes primárias inglesas do final do século XVI até o fim do XVII

2014 ◽  
Vol 14 (1) ◽  
pp. 197
Author(s):  
Nathália Domingos
Keyword(s):  
Thomas Campion

Este artigo aborda aspectos do ensino da Solmização a partir do estudo sistemático de fontes primárias inglesas do final do século XVI até o fim do XVII. Pretende-se evidenciar as particularidades do ensino da Solmização dentre os autores ingleses já que eles utilizam apenas quatro Sílabas: mi, fá, sol, lá. Para isto, será explicitado a forma como Thomas Morley (1597), Thomas Campion (ca. 1614), Charles Butler (1636), John Playford (1655) e Christopher Simpson (1667) tratam este assunto. Pode-se concluir que apesar da maioria dos tratados ingleses de música prática do século XVI até o fim do XVII serem baseados no sistema hexacordal, não explicam todas as regras necessárias para a sua compreensão. 

scholarly journals TEORÍAS Y POLÉMICAS SOBRE LA RIMA EN EL RENACIMIENTO INGLÉS

2014 ◽  
Author(s):  
Juan Frau
Keyword(s):  
Edmund Spenser ◽  
Samuel Daniel ◽  
Thomas Campion

El propósito de este artículo es examinar las teorías del Renacimiento inglés sobre la rima y la polémica acerca de su conveniencia para la versifi cación inglesa. Los críticos y poetas isabelinos estaban divididos en dos facciones opuestas: una que defi ende los modelos clásicos y trata de rescatar el verso cuantitativo, y por lo tanto rechaza la rima, y otra que acepta la rima como una característica esencial del verso de la época. Samuel Daniel, Thomas Campion, Philip Sidney y Edmund Spenser, entre otros, toman parte en este debate

Thomas Campion

1989 ◽  
pp. 198-200
Author(s):  
Gordon Campbell
Keyword(s):  
Thomas Campion

Jacobean Musicians at Hatfield House, 1605–1613

1974 ◽  
Vol 12 ◽  
pp. 115-136 ◽  
Author(s):  
Richard Charteris
Keyword(s):  
Life Style ◽  
Elizabeth I ◽  
Musical Life ◽  
James I ◽  
Royal Court ◽  
Secretary Of State ◽  
Regular Contact ◽  
Thomas Campion

Among the Cecil Family and Estate Papers (hereafter referred to as C. F. E. P.) at Hatfield House, are a large number of bills, accounts and letters which help to cast new light not only on the musical life of an important aristocratic family, but also on the activities of a number of musicians already known for their association with other households and with the royal court. The references in the Papers to the years 1605–1613 are gratifyingly extensive. The same cannot be said for the years on either side of this period, a fact which reflects the scarcity of the available records rather than reduced enthusiasm for music and its cultivation. Consequently, this article confines itself to the period 1605–1613 which covers the last years of the life of Robert Cecil (1563–1612). Cecil's position as Secretary of State to Elizabeth I from 1596 and after her death to James I, brought him into regular contact with the royal court; it not only earned him the title of Earl of Salisbury in 1605, but required him to adopt a life style in which musicians were an integral part. Significantly, most of the musicians who appear among the C. F. E. P. were also active at court. Those mentioned in these papers include Thomas Campion, John Coprario, Thomas Dallam, Cormack Dermode, Nicholas Lanier, George Mason and Thomas Warwick.

In Harmony Framed: Musical Humanism, Thomas Campion, and the Two Daniels

1995 ◽  
Vol 90 (2) ◽  
pp. 409
Author(s):  
David Lindley ◽  
Erik S. Ryding
Keyword(s):  
Thomas Campion

Thomas Campion, an Elizabethan Neo-Classicist

1950 ◽  
Vol 11 (1) ◽  
pp. 3-6 ◽  
Author(s):  
C. W. Peltz
Keyword(s):  
Thomas Campion
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