Uncovering Music of Early European Women (1250-1750)

Uncovering Music of Early European Women (1250 - 1750) brings together nine essays that investigate aspects of female music-making and musical experience in the medieval and early modern periods.

Zusammenfassung Uncovering Music of Early European Women (1250 - 1750) brings together nine chapters that investigate aspects of female music-making and musical experience in the medieval and early modern periods. Part I! "Notes from the Underground!" treats the spirituality of women in solitude and in community. Parts II and III! "Interlude" and "Music for Royal Rivals!" respond to Joan Kelly's famous feminist question and suggest that women of a certain stature did have a Renaissance. Part IV! "Serenissime Sirene!" plays with the notion of the allure of music and its risks in Venice during the Baroque. The process of uncovering requires close listening to women's creative endeavors in an ongoing effort to piece together equitably the terrain of early music. Contributors include: Cynthia J. Cyrus! Claire Fontijn! Catherine E. Gordon! Laura Jeppesen! Eva Kuhn! Anne MacNeil! Jason Stoessel! Elizabeth Randell Upton! and Laurence Wuidar.An invaluable book for college students and scholars interested in the social and cultural meanings of women in early music. Informationen zum Autor Claire Fontijn (PhD! Duke University) is Phyllis Henderson Carey Professor of Music at Wellesley College. In 2007! she won the Nicolas Slonimsky Award for Classical Music Biography from ASCAP/Deems Taylor for her monograph Desperate Measures: The Life and Music of Antonia Padoani Bembo (2006; 2013). Together with Susan Parisi! she edited Fiori Musicali: Liber Amicorum Alexander Silbiger (2010). Her second monograph is titled The Vision of Music of Saint Hildegard's Scivias-Synthesizing Image! Text! Notation! and Theory (2013). She has contributed chapters to books on topics ranging from the subjectivity of the Virgin Mary in music (Naomi J. Miller and Naomi Yavneh [eds.]! Maternal Measures! 2000)! to the chorales of Fanny Hensel and Felix Mendelssohn (Anselm Hartinger! Christoph Wolff! and Peter Wollny [eds.]! "Zu groß! zu unerreichbar"-Bach-Rezeption im Zeitalter Mendelssohns und Schumanns! 2007)! to opera (Francesco Luisi [ed.]! Francesco Buti tra Roma e Parigi! 2009). Her work has been supported by the American Musicological Society! the Andrew W. Mellon Foundation! the Gladys Krieble Delmas Foundation! the National Endowment for the Humanities! and the Woodrow Wilson National Fellowship Foundation. Inhaltsverzeichnis Table of ContentsList of Figures with Caption TextsList of ContributorsAcknowledgementsPreface?Notes from the UndergroundChapter 1. Secret Song and Music in the Visions of Hadewijch of AntwerpLaurence WuidarChapter 2. The Margin is the Message: The Changeable Mise-en-page as signal of Musicking in Nuns' Liturgical Books in Late Medieval Freiburg im BreisgauCynthia J. CyrusChapter 3. Uncovering the Musical Life of San Donato in Polverosa: Sister Maria Diacinta Paulsanti's ProcessionalJason StoesselChapter 4. Shaping Female Identity and Agency through Seventeenth-Century French Sacred SongsCatherine E. Gordon?InterludeChapter 5. Aesthetics of Performance in the Renaissance: Lessons from NoblewomenLaura Jeppesen?Music for Royal RivalsChapter 6. Songs for Isabella d'EsteAnne MacNeilChapter 7. Lucrezia Borgia's VoiceElizabeth Randell Upton??Serenissime SireneChapter 8. Representations of Weeping in the Laments of Barbara StrozziClaire FontijnChapter 9. A Delicate Cage: The Life and Times of Andriana della TiorbaEva Kuhn ...

Autorentext

Claire Fontijn (PhD, Duke University) is Phyllis Henderson Carey Professor of Music at Wellesley College. In 2007, she won the Nicolas Slonimsky Award for Classical Music Biography from ASCAP/Deems Taylor for her monograph Desperate Measures: The Life and Music of Antonia Padoani Bembo (2006; 2013). Together with Susan Parisi, she edited Fiori Musicali: Liber Amicorum Alexander Silbiger (2010). Her second monograph is titled The Vision of Music of Saint Hildegard's SciviasSynthesizing Image, Text, Notation, and Theory (2013). She has contributed chapters to books on topics ranging from the subjectivity of the Virgin Mary in music (Naomi J. Miller and Naomi Yavneh [eds.], Maternal Measures, 2000), to the chorales of Fanny Hensel and Felix Mendelssohn (Anselm Hartinger, Christoph Wolff, and Peter Wollny [eds.], "Zu groß, zu unerreichbar"Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, 2007), to opera (Francesco Luisi [ed.], Francesco Buti tra Roma e Parigi, 2009). Her work has been supported by the American Musicological Society, the Andrew W. Mellon Foundation, the Gladys Krieble Delmas Foundation, the National Endowment for the Humanities, and the Woodrow Wilson National Fellowship Foundation.

Zusammenfassung
Uncovering Music of Early European Women (1250 1750) brings together nine essays that investigate aspects of female music-making and musical experience in the medieval and early modern periods.

Inhalt

Table of Contents

List of Figures with Caption Texts

List of Contributors

Acknowledgements

Preface

Notes from the Underground

Chapter 1. Secret Song and Music in the Visions of Hadewijch of Antwerp

Laurence Wuidar

Chapter 2. The Margin is the Message: The Changeable Mise-en-page as signal of Musicking in Nuns' Liturgical Books in Late Medieval Freiburg im Breisgau

Cynthia J. Cyrus

Chapter 3. Uncovering the Musical Life of San Donato in Polverosa: Sister Maria Diacinta Paulsanti's Processional

Jason Stoessel

Chapter 4. Shaping Female Identity and Agency through Seventeenth-Century French Sacred Songs

Catherine E. Gordon

Interlude

Chapter 5. Aesthetics of Performance in the Renaissance: Lessons from Noblewomen

Laura Jeppesen

Music for Royal Rivals

Chapter 6. Songs for Isabella d'Este

Anne MacNeil

Chapter 7. Lucrezia Borgia's Voice

Elizabeth Randell Upton

Serenissime Sirene

Chapter 8. Representations of Weeping in the Laments of Barbara Strozzi

Claire Fontijn

Chapter 9. A Delicate Cage: The Life and Times of Andriana della Tiorba

Eva Kuhn