ContentsContents: Introduction To The Many Headed Ones: Preliminaries, Thomasin LaMay; Portrait of the artist as (female) musician, Linda Phyllis Austern. Women En-Voiced: Chivalric romance, courtly love and courtly song: female vocality and feminine desire in the world of Amadis de Gaule, Jeanice Brooks; Music and women in Early Modern Spain: some discrepancies between educational theory and musical practice, Pilar Ramos López; Virtue, illusion, Venezianità: vocal bravura and the early Cortigiana Onesta, Shawn Marie Keener; Strong men – weak women: gender representation and the influence of Lully's 'operatic style' on French Airs Sérieux (1650–1700), Catherine E. Gordon-Seifert. Women On Stage: From whore to Stuart ally: musical Venuses on the Early Modern English stage, Amanda Eubanks Winkler; With a sword by her side and a lute in her lap: Moll Cutpurse at the Fortune, Raphael Seligmann; La sirena antica dell'Adriatico: Caterina Porri, a 17th-century Roman prima donna on the stages of Venice, Bologna, and Pavia, Beth L. Glixon; Serf actresses in the Tsarinas' Russia: social class cross-dressing in Russian serf theaters of the 18th century, Inna Naroditskaya. Women from the Convents: The good mother, the reluctant daughter, and the convent: a case of musical persuasion, Colleen Reardon; 'Hired' nun musicians in Early Modern Castile, Colleen Baade; Sor Juana Inès de la Cruz and music: Mexico's 'tenth muse', Enrique Alberto Arias. Women, Collections, And Publishing: Patronage and personal narrative in a music manuscript: Marguerite of Austria, Katherine of Aragon, and London Royal 8 G.vii, Jennifer Thomas; Composing from the throat: Madalena Casulana's Primo libro de madrigali, 1568, Thomasin LaMay; Princess Elizabeth Stuart as musician and muse, Janet Pollack; Epilogue: Francesca among women, a '600 gynecentric view, Suzanne Cusick. Index.
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