1064:
355:
364:
935:
4251:
24:
4239:
1193:. She had lived at the Este court since 1576, and shortly after Margherita's marriage to Alfonso in 1579, Alfonso and his henchmen killed Lucrezia's lover. Lucrezia was unhappy about being replaced as the matron of the house by Margherita, and upset by the murder of her lover, leading to her desire to be separate from the rest of her family during her evening entertainments.
4263:
518:
of the
Duchess Margherita, but were hired primarily as singers. Despite their upper-class background, the singers would not have been welcomed into the court's inner circle had they not been such skilled performers. D'Arco belonged to the nobility, but a minor family only. Peverara was the daughter
1313:
Outside of the ensemble, Alfonso employed at least two castrati, probably the
Spanish brothers Domenico and Hernando Bustamente. Regardless, musicologist Nina Treadwell notes that the Ferrarese "recruitment of castrati waned towards the end of the century with the increased interest in female
833:
or specifically for them. Between 1581 and 1586 especially, Alfonso's court saw its most "vibrant and culturally productive period, during which its literary and musical talents were focused most keenly on providing repertoire for the ladies’ performances, both in private and as part of court
1099:; its success took women from obscurity to "the apex of the profession". Women were openly brought to court to train as professional musicians, and by 1600, a woman could have a viable career as a musician, independent of her husband or father. New women's ensembles inspired by the
552:, but focused their energies on developing vocal virtuosity. This skill became highly prized in the mid-sixteenth century, beginning with basses like Brancaccio, but by the end of the century virtuosic bass singing went out of style, and higher voices came into vogue. The composer
3055:
498:
was involved with the group, but modern scholars disagree on whether she sang with them or was solely as an advisor and instructor. Whether Molza ever performed with them or not, she was ousted from any role in the group after her affair with the composer
761:
s performance practice. Although traditionally such ornaments were improvised in performance, notation was used to coordinate and rehearse the multiple voices; the singers may have continued improvised diminutions in their solo repertoire.
729:, complained that he was forced not only to play cards, distracting him from the performance, but also simultaneously admire and praise the women's music to their patron Alfonso. After at least one concert, to continue the entertainment, a
601:
was widely known, its detailed history was largely lost, dispersed between archival records, until the beginning 20th century when the
Italian literature critic Angelo Solerti drew attention to Ferrara's 16th century court culture.
320:
concerts performed for a private audience. Although it is uncertain whether the group's members were amateur or professional musicians, they were noblewomen and would have attended court regardless. These singers included sisters
3478:
814:
914:. The first is the "luxuriant" style of the 1580s, which set the poetry of Ferrarese natives—such as Tasso and G.B. Guarini—which were generally short and witty with single sections. The second is music in the style of the
973:. His music includes progressive and conservative elements: although his use of vocal imitation creates dense polyphonic textures, akin to earlier 16th-century compositions, his individualistic use of jarring melodic
642:
The performers were thoroughly coached and rehearsed in their work, down to all hand gestures and facial movements. The women performed up to six hours a day, either singing their own florid repertoire from memory,
249:, "through the madrigal, Italy became the leader in European music for the first time in history". Unlike the frottola, composed exclusively by native Italians, the first leading madrigal composers were foreign
440:
to use church assets such as the San Vito convent in
Ferrara. The first recorded performance by the professional ladies was on 20 November 1580; Brancaccio joined the new group the next month. By the 1581
3054:
Treadwell, Nina (2002). "2 "Simil combattimento fatto da Dame": The Musico-theatrical
Entertainments of Margherita Gonzaga's balletto delle donne and the Female Warrior in Ferrarese Cultural History".
452:
with the earlier group of ladies from the 1570s. However, modern musicologists now view the earlier group as a crucial part of the creation and development of the social and vocal genre of the
892:
Musically, their repertoire was written to display the skill of the upper-voiced singers; oftentimes lower static voices accompanied them in contrast. Such works are characterized by a high
623:
series. In the past, performers and audience members would alternate roles, as the gatherings were "social music for the enjoyment of the singers themselves". During the ascendancy of the
432:
who was musically-inclined herself, and in part to help the Duke achieve his artistic goals for the court. Margherita's influence on the church through her brother-in-law, the cardinal
3024:
733:
couple danced. Alfonso was not as interested in these peripheral entertainments; in one instance he excused himself from the party to go sit under a tree to listen to the
527:
argues against this interpretation. The women were paid salaries and received other benefits, such as dowries and apartments in the ducal palace. Peverara received 300
1126:. The group brought Alfonso and his court international prestige, as the ladies' reputation spread throughout Italy and southern Germany; in 1619 the German composer
4318:
1283:, which was the earliest and most prominent one. Musicologist Laurie Stras describes them as group "the group most widely recognized as the concerto delle dame"
1122:
and it became a cliché of northern
Italian courts, having one was a sign of prestige. It heavily influenced the development of the madrigal and eventually the
1063:
1199:
was among the last composers and performers in this style, which by the mid-seventeenth century was considered archaic. At least one instrument used by the
889:. This capitalization is in the original, clearly spelling out the equivalent of the names Anna Guarini, Laura Peverara, Livia d'Arco, and Tarquinia Molza.
631:
became fixed, resulting in "concert music for the pleasure of an audience". The performances had a restricted audience; only selected dignitaries and few
3599:
3981:
3925:
3872:
3819:
3763:
3707:
3655:
3539:
141:
and reasons of prestige. The new group included professional singers of upper-class, but not noble, backgrounds, under the direction of the composers
424:) in 1580. He did not announce the creation of a new professional, all-female ensemble; instead, the group infiltrated and gradually dominated the
385:
3195:
80:, which existed between 1580 and 1597. Renowned for their technical and artistic virtuosity, the Ferrarese group's core members were the sopranos
581:
Despite having married three times in the hopes of producing an heir, Alfonso II died in 1597 without issue, legitimate or otherwise. His cousin
4056:
1068:
456:. The culture at the Italian courts of that time had a political dimension, as families aimed to present their greatness by non-violent means.
3200:
2870:(1986). "Courtesans, Muses, or Musicians: Professional Women Musicians in Sixteenth-Century Italy". In Bowers, Jane M.; Tick, Judith (eds.).
698:
roles out of a cast of nine, showing the new dominance of this vocal type. It also contrasts with the court of
Margherita's father, where
3429:
1110:
Despite
Alfonso not publicizing the composed music and the dissolution of the court in 1597, the musical style which was inspired by the
962:, comprises works written throughout the 1580s. Newcomb considers this publication the exemplar of the ladies' signature musical style.
958:
styles. Luzzaschi's book of madrigals for one, two, and three sopranos with keyboard accompaniment, published in 1601 as the well-known
757:
voices singing varying diminutions at once. Such ornaments were meticulously notated by the composers, leaving a detailed record of the
519:
of a wealthy merchant, and Molza came from a prominent family of artists. The musicologist
Thomasin LaMay posits that the women of the
4308:
1304:
says she was involved solely as an advisor and instructor. The musicologist Karin Pendle only says that Molza "joined the ensemble".
149:. Their signature style of florid, highly ornamented singing brought prestige to Ferrara and inspired composers of the time such as
4293:
3367:
1000:
is among the first publication fully dedicated to the new singing style. He dedicated songs to
Guarini, Peverara, and Luzzaschi.
523:
provided sexual favors for members of the court, but there is no evidence for this, and the circumstances of their marriages and
490:
381:
192:
in the late sixteenth century Italy. The musical innovations established in the court were important in the development of the
570:, in charge of the entire court's musical activities. In addition to his duties to the overall court, Fiorini accompanied the
4303:
4154:
4008:
3952:
3899:
3846:
3790:
3734:
3678:
3622:
3566:
3118:
3088:
3065:
3013:
2956:
2933:
2908:
2883:
2857:
2813:
2786:
2763:
2736:
2711:
2684:
2634:
373:
291:
96:
1130:
described it as "the latest new Italian style for achieving a good manner of singing". It functioned as a powerful tool of
503:
came to light in 1589. After the dismissal of Brancaccio for insubordination in 1583, no more permanent male members of the
294:
formed a group of mostly female singers by at least 1577. They performed madrigals within the context of the Duke's ongoing
1327:, and to maintain control over it. Newcomb considers this publication the exemplar of the ladies' signature musical style.
713:
demanded diversions and entertainment beyond the pleasures of beautiful music alone. During the concerts, members of the
217:, which broadly covered the 15th and 16th centuries of Europe. Regional courts, ruled by competing families—such as the
4049:
1186:
1005:
176:
court as a musical center. Word of the ladies' ensemble spread across Italy, inspiring imitations in the courts of the
472:
as part of her retinue. She was particularly lauded for her skill in accompanied solo singing. Peverara was joined by
4298:
3381:
3365:
Schulenberg, David (2000). "History of European Art Music". In Rice, Timothy; Porter, James; Goertzen, Chris (eds.).
3030:
2983:
448:
This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the
3272:
3274:
Agency of Musical Instruments: The Resonance of Instruments without Sounds in the Collection of Francesco II d’Este
3001:
354:
1344:
dialogue, the character defending Monteverdi connects haphazard treatment of dissonance with ornamental singing.
1141:
in Ferrara, Caccini created a rival group made up of his family and a pupil. This ensemble was sponsored by the
753:
was its departure from one voice singing diminutions above an instrumental accompaniment to two or three highly
2833:
2755:
981:
are at odds with older conventions. This freer use of dissonances were closely connected with the style of the
533:
a year and lodging in the ducal palace for herself, her husband, and her mother – as well as a dowry of 10,000
4042:
3222:
4159:
3650:
2875:
429:
138:
3310:
229:—patronized secular music immensely, commissioning compositions and forming large ensembles. Although the
4313:
3080:
2925:
2649:
Handel & the Castrati: The Story Behind the 18th-Century Superstar Singers; 29 March – 1 October 2006
813:
2773:
LaMay, Thomasin (2002). "Madalena Casulana: My Body Knows Unheard of Songs". In Borgerding, Todd (ed.).
2698:
Patrons and Painters: A study in the relations between Italian Art and Society in the Age of the Baroque
4288:
4229:
2948:
2849:
2676:
3223:"The Music of Sympathy in the Arts of the Baroque; or, the Use of Difference to Overcome Indifference"
3646:
3590:
2626:
1103:
resulted in more positions for women as professional singers and more music for them to perform. The
1048:
978:
969:
structures. Luzzaschi lessens the sectionalizing effect of his compositional techniques by weakening
481:
1055:, some of which were later set by composers. Tasso wrote over seventy-five poems to Peverara alone.
4138:
4096:
2900:
2728:
1181:. There was even a rival group in Ferrara based in the Castello Estense, the very palace where the
1096:
338:
169:
1107:
contested the viewpoint of some contemporaries that women were unfit to achieve noteworthy deeds.
3992:
3936:
3883:
3830:
3774:
3718:
3550:
3457:
3005:
585:
inherited the Duchy, but the city of Ferrara, which was legally a Papal fief, was annexed to the
4000:
3339:
3283:
3165:
1323:
This music may have been delayed from publication in order to maintain the secrecy of Alfonso's
1008:; much of Gesualdo's music for the group does not survive. Other publications include De Wert's
4283:
4243:
1275:
may refer to any of the professional female singing ensembles throughout Italy during the late
965:
Musically, Luzzaschi's works are highly sectionalized and based on melodic themes, rather than
416:
64:
3944:
3891:
3838:
3782:
3726:
3670:
3614:
3558:
3437:
1440:
468:, whose musical abilities prompted the Duke to specifically ask the Duchess to bring her from
3344:
3315:
3288:
3254:
3170:
2975:
2703:
722:
250:
2968:
2967:
2696:
4133:
334:
4024:
3968:
3915:
3862:
3806:
3750:
3694:
3638:
3582:
3026:
Restaging the Siren: Musical Women in the Performance of Sixteenth-Century Italian Theater
8:
2652:
2610:
1150:
655:
as singers and dancers. The ladies' musical duties included performing with the duchess'
566:
246:
3926:"Women in music, §II: Western classical traditions in Europe & the USA 3. 1500–1800"
3479:"She descended on a cloud 'from the highest spheres': Florentine monody 'alla Romanina'"
3166:"Licks, Polemics, and the Viola Bastarda: Unity and Defiance in Monteverdi's Fifth Book"
1004:
also wrote music for the group while visiting Ferrara in 1594 to marry the Duke's niece
709:
The elite, hand-selected audience members favored with admission to performances by the
4195:
4190:
3987:
3931:
3878:
3825:
3769:
3713:
3661:
3605:
3594:
3545:
3416:
2805:
1127:
1029:
951:
553:
158:
142:
36:
4175:
4128:
4123:
4118:
4004:
3948:
3895:
3842:
3786:
3730:
3674:
3618:
3562:
3498:
3465:
3408:
3377:
3152:
3114:
3084:
3061:
3042:
3009:
2979:
2952:
2929:
2904:
2879:
2853:
2809:
2782:
2759:
2732:
2707:
2680:
2656:
2630:
2618:
1276:
1154:
993:
882:
699:
639:; one such dignitary may have been the Russian ambassador Istoma Shevrigin, in 1581.
590:
428:
concerts. This ensemble was created by the Duke in part to amuse his young new wife,
390:
377:
363:
330:
326:
322:
276:
214:
150:
130:
126:
73:
18:
Group of professional female singers in the late Renaissance court of Ferrara, Italy
4216:
4180:
3996:
3940:
3887:
3834:
3778:
3722:
3666:
3610:
3554:
3490:
3433:
3400:
3353:
3324:
3297:
3236:
3209:
3179:
3034:
2993:
2644:
2614:
1208:
1178:
1085:
997:
878:
838:
822:
754:
582:
561:
280:
222:
193:
146:
3277:. 19th Biennial International Conference on Baroque Music. Birmingham. p. 94.
3038:
769:, mentioned in a source from 1581, were such popular sixteenth-century devices as
597:
in disarray and its music establishment was disbanded. While the existence of the
4200:
4101:
4091:
3814:
3110:
3106:
2919:
2894:
2867:
2841:
2827:
2722:
1341:
1337:
1301:
1297:
1196:
1075:
974:
970:
916:
887:
SeGU'ARINAscer LAURA e prenda LARCO / Amor soave e dolce / Ch'ogni cor duro MOLCE
774:
515:
500:
495:
473:
433:
226:
198:
85:
4185:
4081:
3453:
3191:
1081:
1044:
1001:
858:
794:
660:
589:
in 1598 through a combination of "firm diplomacy and unscrupulous pressure" by
556:
directed and wrote music to showcase the ensemble, and accompanied them on the
465:
296:
210:
154:
105:
81:
3494:
3240:
910:. There were two separate styles of madrigals written for and inspired by the
903:
4277:
3502:
3469:
3412:
3227:
3156:
3098:
2823:
2747:
2660:
1170:
1114:
spread throughout Europe, and remained prominent for almost fifty years. The
922:
920:, written in the 1590s, treated harmony with more freedom than the preceding
790:
644:
317:
238:
218:
189:
181:
173:
100:
76:
in Italy. The term usually refers to the first and most influential group in
3340:"Revoicing a 'Choice Eunuch': The Cornett and Historical Models of Vocality"
3046:
1091:
While they were neither the first nor only female musicians in Ferrara, the
4267:
4255:
4086:
3976:
3512:"'Inclosed in This Tabernacle of Flesh': Body, Soul, and the Singing Voice"
3263:
870:
586:
477:
255:
89:
789:(connection of two longer notes, using dotted rhythms), a staple of early
3758:
3702:
3301:
2668:
1293:
1211:
907:
738:
557:
242:
3357:
3329:
3183:
2796:
LaMay, Thomasin (2005). "Composing from the Throat: Madalena Casulana's
2724:
Russia's Theatrical Past: Court Entertainment in the Seventeenth Century
1539:
1537:
1535:
1533:
1095:
was a revolutionary musical establishment that helped effect a shift in
4034:
3511:
3420:
3196:"Gendering Modern Music: Thoughts on the Monteverdi-Artusi Controversy"
3140:
1430:
1428:
1131:
1017:
934:
690:
507:
were hired; however, the ensemble occasionally sang with male singers.
3249:
3077:
The Court and its Critics: Anti-court Sentiments in Early Modern Italy
829:
Many Italian Renaissance composers wrote music either inspired by the
3373:
3284:"Will Wonders Never Cease? The Viola Bastarda at the Ferrarese Court"
2778:
1530:
1452:
1024:
was probably influenced by the group. Some madrigals in the two-book
894:
781:(decoration of the penultimate note, sometimes quite elaborate), and
718:
40:
3404:
1930:
1425:
3391:
Sherr, Richard (Spring 1980). "Gugliemo Gonzaga and the Castrati".
3213:
1162:
966:
899:
730:
680:
675:
648:
632:
485:
442:
234:
230:
1401:
1280:
671:
594:
287:
77:
2435:
2433:
1190:
1174:
1142:
866:
703:
469:
177:
2534:
2532:
1596:
488:
which were performed by the ensemble, and wrote texts for the
23:
2430:
2238:
2236:
2179:
1775:
1146:
685:
529:
524:
233:
style held early popularity, it was quickly overtaken by the
2872:
Women Making Music: the Western Musical Tradition, 1150–1950
684:
were shortly to become the biggest stars of a new art form,
2721:
Jensen, C. R.; Maier, I.; Shamin, S.; Waugh, D. C. (2021).
2529:
1166:
1157:
had much success composing and singing in the style of the
854:
797:
claimed that Alfonso asked him to teach his ladies the new
575:
549:
545:
541:
99:
founded a group of mostly female singers for his exclusive
2998:
Music from the Earliest Notations to the Sixteenth Century
2802:
Musical Voices of Early Modern Women: Many-Headed Melodies
2292:
2233:
853:(1583), both containing music by the leading composers of
773:(division of a long note into many shorter notes, usually
2211:
2209:
1884:
1882:
1671:
72:) was an ensemble of professional female singers of late
2384:
2382:
2309:
2307:
2282:
2280:
2278:
2196:
2194:
2109:
2107:
2082:
2080:
2067:
2065:
1821:
1819:
1637:
1635:
1620:
1608:
1586:
1584:
1571:
1569:
1567:
1508:
1506:
2265:
2263:
2248:
2038:
1978:
1683:
1554:
1552:
1493:
1491:
1489:
1487:
1485:
1483:
1481:
1479:
1118:
was so influential that other courts developed similar
942:, showing Verovi's mark and acknowledgement of Alfonso.
737:, and follow along with the madrigal texts and musical
125:). These singers were exclusively noble women, such as
2720:
2609:
2556:
2544:
2469:
2445:
2367:
2343:
2221:
2206:
2167:
2002:
1990:
1936:
1879:
1855:
1831:
1700:
1698:
1543:
1458:
1434:
1379:
1377:
725:
Orazio Urbani, having waited several years to see the
4227:
3430:"Newberry Consort Repertoire - Daughters of the Muse"
2996:(2010). "Chapter 17: Commercial and Literary Music".
2505:
2418:
2406:
2394:
2379:
2304:
2275:
2191:
2131:
2119:
2104:
2092:
2077:
2062:
1966:
1942:
1906:
1867:
1816:
1804:
1794:
1792:
1790:
1751:
1659:
1632:
1581:
1564:
1503:
1464:
1185:
performed. This group was formed by Alfonso's sister
1036:
in mind, due to their technically demanding content.
241:
genre of 16th-century Italy, and possibly the entire
237:
in the 1520s. The madrigal became the most important
2457:
2331:
2260:
2155:
2143:
1954:
1918:
1739:
1727:
1647:
1549:
1518:
1476:
1413:
1364:
1362:
1360:
3600:"(1) Giulio Romolo Caccini [Giulio Romano]"
3540:"Gesualdo, Carlo, Prince of Venosa, Count of Conza"
2355:
2319:
2026:
2014:
1843:
1763:
1717:
1715:
1713:
1695:
1389:
1374:
1279:; however, it most often refers to the ensemble in
825:'s printing and the patronage of Alfonso II d'Este.
3980:
3924:
3871:
3818:
3762:
3706:
3654:
3598:
3538:
2695:
2580:
2568:
2517:
1894:
1787:
540:The new singers played instruments, including the
464:The most prominent member of the new ensemble was
3311:"'Madama' Margaret of Parma's patronage of music"
3141:"Review of Le settimo libro de' madrigali (1595)"
2050:
1357:
1134:, projecting an image of strength and affluence.
445:season, they were performing together regularly.
4275:
2829:Desire and Pleasure in Seventeenth-Century Music
1710:
3589:
2745:
2673:Music and Patronage in Sixteenth-Century Mantua
2538:
1781:
845:. Baldini's first publication for the Duke was
4319:Musical groups established in the 16th century
954:, who wrote works in both the "luxuriant" and
674:. There is no evidence that the ensemble used
666:Aside from Brancaccio, all the singers in the
4050:
3201:Journal of the American Musicological Society
841:, consisted largely of music written for the
821:for five voices (Ferrara, 1595) acknowledges
3399:(1). Renaissance Society of America: 33–56.
2945:Women and Music in Sixteenth-Century Ferrara
678:. This fact is surprising, considering that
133:. In 1580, Alfonso formally established the
3364:
2970:The Development of Western Music: A History
2752:Companion to Medieval and Renaissance music
1407:
1051:wrote works dedicated to the ladies in the
659:, a group of female dancers who frequently
406:
301:
260:
188:was among the most important events in the
110:
54:
4057:
4043:
3656:"Monteverdi [Monteverde], Claudio"
3645:
2215:
741:, which were made available to listeners.
4001:10.1093/gmo/9781561592630.article.O005849
3509:
3476:
3452:
3328:
3053:
3022:
2511:
2475:
2451:
2254:
2044:
1984:
1689:
929:
484:. The latter wrote poems for many of the
4064:
3536:
2992:
2337:
1446:
1234:
1232:
1062:
933:
812:
43:passages in which the group specialized.
22:
3975:
3945:10.1093/gmo/9781561592630.article.52554
3892:10.1093/gmo/9781561592630.article.17378
3869:
3839:10.1093/gmo/9781561592630.article.18918
3813:
3783:10.1093/gmo/9781561592630.article.00301
3757:
3727:10.1093/gmo/9781561592630.article.09702
3701:
3671:10.1093/gmo/9781561592630.article.44352
3615:10.1093/gmo/9781561592630.article.40146
3559:10.1093/gmo/9781561592630.article.10994
3368:The Garland Encyclopedia of World Music
3247:
3220:
3163:
3097:
3074:
2866:
2840:
2822:
2693:
2643:
2562:
2550:
2499:
2439:
2412:
2400:
2388:
2373:
2361:
2349:
2325:
2313:
2298:
2286:
2242:
2227:
2200:
2185:
2173:
2137:
2125:
2113:
2098:
2086:
2071:
2032:
2020:
2008:
1996:
1972:
1948:
1912:
1888:
1873:
1861:
1849:
1837:
1825:
1810:
1757:
1745:
1704:
1665:
1641:
1626:
1602:
1590:
1575:
1524:
749:The greatest musical innovation of the
39:. The excerpt displays the fast-moving
4276:
3427:
3281:
3190:
3138:
2965:
2921:Bel Canto: A History of Vocal Pedagogy
2892:
2667:
2495:
2491:
2487:
2463:
2424:
1960:
1798:
1733:
1677:
1512:
1497:
1470:
1419:
940:Madrigali a uno, e'doi, e'tre' soprani
4038:
3708:"Fiorini [Fiorino], Ippolito"
3390:
3337:
2942:
2917:
2795:
2772:
2647:(2006). "Machines Made for Singing".
2523:
2269:
2161:
2149:
2056:
1924:
1900:
1769:
1653:
1614:
1558:
1395:
1383:
1368:
1229:
1043:were not limited to music: The poets
885:containing the madrigal which begins
172:, and continued the tradition of the
3922:
3549:. Revised by Glenn Watkins. Oxford:
3308:
3270:
2586:
2574:
1721:
1544:Burkholder, Grout & Palisca 2014
1459:Burkholder, Grout & Palisca 2014
1449:, § "Vernacular Song Genres: Italy".
1435:Burkholder, Grout & Palisca 2014
793:, are absent from the list. In 1592
688:. In 1607, Monteverdi's influential
459:
3665:. Oxford: Oxford University Press.
3609:. Oxford: Oxford University Press.
3516:Journal of the Northern Renaissance
3282:Morton, Joëlle (22 December 2022).
3164:Coluzzi, Seth (23 September 2019).
2800:, 1568". In LaMay, Thomasin (ed.).
13:
3510:Wistreich, Richard (5 July 2017).
3221:HaCohen, Ruth (1 September 2001).
3057:Gender, Sexuality, and Early Music
2846:The Madrigal at Ferrara, 1579–1597
2775:Gender, Sexuality, and Early Music
988:Other composers who wrote for the
401:The Duke formally established the
14:
4330:
3338:Savan, Jamie (31 December 2018).
3031:University of Southern California
837:The output of the ducal printer,
4309:1597 disestablishments in Europe
4261:
4249:
4237:
3250:"There is Nothing Like the dame"
1145:, and traveled as far abroad as
593:. The Este court had to abandon
480:, daughter of the prolific poet
362:
353:
3103:Gesualdo: The Man and His Music
3002:Oxford History of Western Music
2481:
1330:
1317:
1307:
1286:
1161:. Rival groups were planned in
765:Specific ornaments used by the
337:. The professional bass singer
4294:Italian classical music groups
3477:Treadwell, Nina (March 2004).
2834:University of California Press
2756:University of California Press
1265:
960:Madrigali per cantare e sonare
849:(1582), which was followed by
610:
494:dances. The well-known singer
1:
3039:10.25549/usctheses-c16-138553
2498:, p. 156, reiterated by
1217:
1010:Seventh Book of Madrigals Ă 5
808:
205:
4304:1580 establishments in Italy
4025:UK public library membership
3969:UK public library membership
3916:UK public library membership
3870:Shindle, W. Richard (2001).
3863:UK public library membership
3807:UK public library membership
3751:UK public library membership
3695:UK public library membership
3639:UK public library membership
3583:UK public library membership
3309:Niwa, S. (1 February 2005).
2876:University of Illinois Press
1351:
1058:
560:. The composer and lutenist
344:
29:O dolcezz'amarissime d'amore
7:
3248:Hammond, Frederick (2004).
3081:University of Toronto Press
2926:University of Toronto Press
2539:Carter & Hitchcock 2001
1782:Knighton & Fallows 1998
946:The chief composer for the
865:was printed as far away as
717:s audience would sometimes
170:women in professional music
168:revolutionized the role of
10:
4335:
3537:Bianconi, Lorenzo (2001).
2974:(3rd ed.). New York:
2949:Cambridge University Press
2896:Women and Music: A History
2850:Princeton University Press
2677:Cambridge University Press
2675:. Vol. 1. Cambridge:
2627:W. W. Norton & Company
2625:(9th ed.). New York:
2623:A History of Western Music
2595:
1026:Madrigaletti et napolitane
938:Title page of Luzzaschi's
819:Quinto libro dei madrigali
651:, or participating in the
341:also joined the ensemble.
4209:
4168:
4160:Margherita Gonzaga d'Este
4147:
4111:
4074:
3495:10.1017/S0954586704001764
3262:(1): 156–157 – via
3241:10.1215/03335372-22-3-607
3004:. Vol. 1. New York:
2694:Haskell, Francis (1980).
1300:sang with the group, but
1049:Giovanni Battista Guarini
482:Giovanni Battista Guarini
430:Margherita Gonzaga d'Este
139:Margherita Gonzaga d'Este
4299:Women in classical music
4139:Giulio Cesare Brancaccio
4097:Giulio Cesare Brancaccio
3109:(2nd ed.). Oxford:
3023:Treadwell, Nina (2000).
2966:Stolba, K Marie (1994).
2901:Indiana University Press
2798:Primo libro de madrigali
2729:Indiana University Press
2702:. New Haven and London:
1222:
861:. Music in honor of the
744:
721:. The ambassador of the
605:
339:Giulio Cesare Brancaccio
251:Franco-Flemish musicians
213:was a leading center of
3993:Oxford University Press
3937:Oxford University Press
3884:Oxford University Press
3831:Oxford University Press
3775:Oxford University Press
3719:Oxford University Press
3551:Oxford University Press
3483:Cambridge Opera Journal
3458:"Consider the Madrigal"
3075:Ugolini, Paola (2020).
3006:Oxford University Press
1605:, pp. 7, 106, 120.
1410:, pp. 99, 103–104.
316:), a regular series of
3372:. Abingdon-on-Thames:
3139:Arnold, Denis (1982).
2943:Stras, Laurie (2018).
2893:Pendle, Karin (2001).
2777:. Abingdon-on-Thames:
2442:, pp. 97, 98, 99.
2216:Carter & Chew 2001
2188:, pp. 28, 69, 84.
1088:
1039:Works written for the
1032:were written with the
996:, whose third book of
943:
930:Specific personalities
826:
184:. The founding of the
44:
3923:Tick, Judith (2001).
3873:"Macque, Giovanni de"
3393:Renaissance Quarterly
2976:McGraw-Hill Companies
2918:Stark, James (1999).
2704:Yale University Press
1214:, has become famous.
1097:women's role in music
1066:
1022:Canzonette a tre voci
937:
816:
759:concerto delle donne'
723:Grand Duke of Tuscany
627:the roles within the
196:, and eventually the
26:
4134:Vittoria Bentivoglio
4067:Concerto delle donne
3764:"Agostini, Lodovico"
2808:. pp. 365–397.
2611:Burkholder, J. Peter
1296:believes the singer
1273:concerto delle donne
1201:concerto delle donne
1183:concerto delle donne
1159:concerto delle donne
1139:concerto delle donne
1116:concerto delle donne
1112:concerto delle donne
1105:concerto delle donne
1101:concerto delle donne
1093:concerto delle donne
1041:concerto delle donne
1034:Concerto delle donne
983:concerto delle donne
950:was their director,
948:concerto delle donne
912:concerto delle donne
843:concerto delle donne
831:concerto delle donne
767:concerto delle donne
751:concerto delle donne
711:concerto delle donne
702:actively sought out
657:balletto delle donne
637:concerto delle donne
625:concerto delle donne
617:concerto delle donne
599:concerto delle donne
521:concerti delle donne
512:concerto delle donne
491:balletto delle donne
454:concerto delle donne
450:concerto delle donne
403:concerto delle donne
335:Vittoria Bentivoglio
270:"over the mountains"
186:concerto delle donne
166:concerto delle donne
135:concerto delle donne
95:The Duke of Ferrara
50:concerto delle donne
3595:Hitchcock, H. Wiley
3376:. pp. 99–119.
2878:. pp. 90–115.
2653:Handel House Museum
2301:, pp. 120–125.
2245:, pp. 115–116.
1680:, pp. 253–254.
1617:, pp. 229–230.
1238:Also known as the
567:maestro di cappella
537:upon her marriage.
510:The singers of the
247:J. Peter Burkholder
4314:History of Ferrara
4196:Claudio Monteverdi
4191:Luzzasco Luzzaschi
3988:Grove Music Online
3932:Grove Music Online
3879:Grove Music Online
3826:Grove Music Online
3820:"Molza, Tarquinia"
3770:Grove Music Online
3714:Grove Music Online
3662:Grove Music Online
3606:Grove Music Online
3546:Grove Music Online
3428:Springfels, Mary.
3302:10.1093/em/caac036
3271:Kuhn, Eva (2020).
3192:Cusick, Suzanne G.
2806:Ashgate Publishing
2781:. pp. 41–72.
2619:Palisca, Claude V.
1937:Jensen et al. 2021
1128:Michael Praetorius
1089:
1030:Giovanni de Macque
952:Luzzasco Luzzaschi
944:
906:style, and a wide
827:
554:Luzzasco Luzzaschi
382:Margherita Gonzaga
159:Claudio Monteverdi
143:Luzzasco Luzzaschi
137:for both his wife
45:
37:Luzzasco Luzzaschi
31:, written for the
4289:Renaissance music
4225:
4224:
4176:Lodovico Agostini
4155:Alfonso II d'Este
4129:Leonora Sanvitale
4124:Isabella Bendidio
4119:Lucrezia Bendidio
4023:(subscription or
4010:978-1-56159-263-0
3967:(subscription or
3954:978-1-56159-263-0
3914:(subscription or
3901:978-1-56159-263-0
3861:(subscription or
3848:978-1-56159-263-0
3805:(subscription or
3792:978-1-56159-263-0
3749:(subscription or
3736:978-1-56159-263-0
3693:(subscription or
3680:978-1-56159-263-0
3637:(subscription or
3624:978-1-56159-263-0
3581:(subscription or
3568:978-1-56159-263-0
3456:(9 August 2017).
3358:10.1093/em/cay068
3330:10.1093/em/cah039
3184:10.1093/em/caz040
3120:978-0-19-816216-2
3090:978-1-4875-3216-1
3067:978-0-203-05549-6
3015:978-0-19-538481-9
2994:Taruskin, Richard
2958:978-1-316-65045-5
2935:978-0-8020-8614-3
2910:978-0-253-21422-5
2885:978-0-252-01470-3
2859:978-0-691-09125-9
2815:978-0-7546-3742-4
2788:978-0-8153-3394-4
2765:978-0-520-21081-3
2738:978-0-253-05635-1
2713:978-0-300-02540-8
2686:978-1-59475-000-7
2645:Clapton, Nicholas
2636:978-0-393-91829-8
2615:Grout, Donald Jay
1629:, pp. 20–21.
1292:The musicologist
1241:concerto di donne
1155:Francesca Caccini
994:Lodovico Agostini
883:Ricciardo Amadino
700:Guglielmo Gonzaga
591:Pope Clement VIII
516:ladies-in-waiting
460:Roster and duties
378:Girolamo da Carpi
374:Alfonso II d'Este
331:Leonora Sanvitale
327:Isabella Bendidio
292:Alfonso II d'Este
277:Philippe Verdelot
253:, referred to as
215:Renaissance music
151:Lodovico Agostini
131:Isabella Bendidio
97:Alfonso II d'Este
74:Renaissance music
4326:
4266:
4265:
4264:
4254:
4253:
4252:
4242:
4241:
4240:
4233:
4217:Vittorio Baldini
4181:Ippolito Fiorini
4059:
4052:
4045:
4036:
4035:
4028:
4021:
4019:
4017:
3984:
3972:
3965:
3963:
3961:
3928:
3919:
3912:
3910:
3908:
3875:
3866:
3859:
3857:
3855:
3822:
3815:Newcomb, Anthony
3810:
3803:
3801:
3799:
3766:
3754:
3747:
3745:
3743:
3710:
3698:
3691:
3689:
3687:
3658:
3642:
3635:
3633:
3631:
3602:
3586:
3579:
3577:
3575:
3542:
3519:
3506:
3473:
3449:
3447:
3445:
3436:. Archived from
3434:Newberry Library
3424:
3387:
3361:
3334:
3332:
3305:
3278:
3267:
3244:
3217:
3194:(1 April 1993).
3187:
3160:
3124:
3094:
3071:
3050:
3019:
2989:
2973:
2962:
2939:
2914:
2889:
2868:Newcomb, Anthony
2863:
2842:Newcomb, Anthony
2837:
2819:
2792:
2769:
2746:Knighton, Tess;
2742:
2717:
2701:
2690:
2664:
2640:
2590:
2584:
2578:
2572:
2566:
2560:
2554:
2548:
2542:
2536:
2527:
2521:
2515:
2509:
2503:
2485:
2479:
2473:
2467:
2461:
2455:
2449:
2443:
2437:
2428:
2422:
2416:
2410:
2404:
2398:
2392:
2386:
2377:
2371:
2365:
2359:
2353:
2347:
2341:
2335:
2329:
2323:
2317:
2311:
2302:
2296:
2290:
2284:
2273:
2267:
2258:
2252:
2246:
2240:
2231:
2225:
2219:
2213:
2204:
2198:
2189:
2183:
2177:
2171:
2165:
2159:
2153:
2147:
2141:
2135:
2129:
2123:
2117:
2111:
2102:
2096:
2090:
2084:
2075:
2069:
2060:
2054:
2048:
2042:
2036:
2030:
2024:
2018:
2012:
2006:
2000:
1994:
1988:
1982:
1976:
1970:
1964:
1958:
1952:
1946:
1940:
1934:
1928:
1922:
1916:
1910:
1904:
1898:
1892:
1886:
1877:
1871:
1865:
1859:
1853:
1847:
1841:
1835:
1829:
1823:
1814:
1808:
1802:
1796:
1785:
1779:
1773:
1767:
1761:
1755:
1749:
1743:
1737:
1731:
1725:
1719:
1708:
1702:
1693:
1687:
1681:
1675:
1669:
1663:
1657:
1651:
1645:
1639:
1630:
1624:
1618:
1612:
1606:
1600:
1594:
1588:
1579:
1573:
1562:
1556:
1547:
1541:
1528:
1522:
1516:
1510:
1501:
1495:
1474:
1468:
1462:
1456:
1450:
1444:
1438:
1432:
1423:
1417:
1411:
1408:Schulenberg 2000
1405:
1399:
1393:
1387:
1381:
1372:
1366:
1345:
1334:
1328:
1321:
1315:
1311:
1305:
1290:
1284:
1269:
1263:
1236:
1209:Galleria Estense
1151:Marie de' Medici
1137:Having seen the
1124:seconda practica
1086:Galleria Estense
1079:
879:Giacomo Vincenti
839:Vittorio Baldini
823:Vittorio Baldini
785:(rapid scales).
619:transformed the
562:Ippolito Fiorini
514:were officially
423:
420:
414:
411:
408:
394:
366:
357:
315:
312:
309:
306:
303:
286:At the court in
281:Jacques Arcadelt
274:
271:
268:
265:
262:
147:Ippolito Fiorini
124:
121:
118:
115:
112:
71:
68:
62:
59:
56:
4334:
4333:
4329:
4328:
4327:
4325:
4324:
4323:
4274:
4273:
4272:
4262:
4260:
4250:
4248:
4244:Classical music
4238:
4236:
4228:
4226:
4221:
4205:
4201:Giaches de Wert
4164:
4143:
4107:
4102:Tarquinia Molza
4070:
4063:
4031:
4022:
4015:
4013:
4011:
3966:
3959:
3957:
3955:
3913:
3906:
3904:
3902:
3860:
3853:
3851:
3849:
3804:
3797:
3795:
3793:
3748:
3741:
3739:
3737:
3692:
3685:
3683:
3681:
3636:
3629:
3627:
3625:
3580:
3573:
3571:
3569:
3522:
3454:Tomlinson, Gary
3443:
3441:
3405:10.2307/2861534
3384:
3127:
3121:
3111:Clarendon Press
3107:Igor Stravinsky
3091:
3068:
3016:
2986:
2959:
2936:
2911:
2899:. Bloomington:
2886:
2860:
2816:
2789:
2766:
2739:
2727:. Bloomington:
2714:
2687:
2637:
2598:
2593:
2585:
2581:
2573:
2569:
2561:
2557:
2549:
2545:
2537:
2530:
2522:
2518:
2510:
2506:
2486:
2482:
2474:
2470:
2462:
2458:
2450:
2446:
2438:
2431:
2423:
2419:
2411:
2407:
2399:
2395:
2387:
2380:
2372:
2368:
2360:
2356:
2348:
2344:
2336:
2332:
2324:
2320:
2312:
2305:
2297:
2293:
2285:
2276:
2268:
2261:
2253:
2249:
2241:
2234:
2226:
2222:
2214:
2207:
2199:
2192:
2184:
2180:
2172:
2168:
2160:
2156:
2148:
2144:
2136:
2132:
2124:
2120:
2112:
2105:
2097:
2093:
2085:
2078:
2070:
2063:
2055:
2051:
2043:
2039:
2031:
2027:
2019:
2015:
2007:
2003:
1995:
1991:
1983:
1979:
1971:
1967:
1959:
1955:
1947:
1943:
1935:
1931:
1923:
1919:
1911:
1907:
1899:
1895:
1887:
1880:
1872:
1868:
1860:
1856:
1848:
1844:
1836:
1832:
1824:
1817:
1809:
1805:
1797:
1788:
1780:
1776:
1768:
1764:
1756:
1752:
1744:
1740:
1732:
1728:
1720:
1711:
1703:
1696:
1688:
1684:
1676:
1672:
1664:
1660:
1652:
1648:
1640:
1633:
1625:
1621:
1613:
1609:
1601:
1597:
1589:
1582:
1574:
1565:
1557:
1550:
1542:
1531:
1523:
1519:
1511:
1504:
1496:
1477:
1469:
1465:
1457:
1453:
1445:
1441:
1433:
1426:
1418:
1414:
1406:
1402:
1394:
1390:
1382:
1375:
1367:
1358:
1354:
1349:
1348:
1338:Giovanni Artusi
1335:
1331:
1322:
1318:
1312:
1308:
1302:Anthony Newcomb
1298:Tarquinia Molza
1291:
1287:
1270:
1266:
1237:
1230:
1225:
1220:
1205:L'Arpa di Laura
1197:Barbara Strozzi
1187:Lucrezia d'Este
1165:by the Medici,
1149:to perform for
1073:
1070:L'Arpa di Laura
1061:
1012:and Marenzio's
956:seconda pratica
932:
917:seconda pratica
875:First Book Ă 5,
811:
747:
613:
608:
501:Giaches de Wert
496:Tarquinia Molza
462:
421:
415:
412:
409:
399:
398:
397:
396:
388:
369:
368:
367:
359:
358:
347:
313:
310:
307:
304:
272:
269:
266:
263:
245:; according to
208:
199:seconda pratica
122:
119:
116:
113:
69:
63:
60:
57:
27:Second page of
19:
12:
11:
5:
4332:
4322:
4321:
4316:
4311:
4306:
4301:
4296:
4291:
4286:
4271:
4270:
4258:
4246:
4223:
4222:
4220:
4219:
4213:
4211:
4207:
4206:
4204:
4203:
4198:
4193:
4188:
4186:Carlo Gesualdo
4183:
4178:
4172:
4170:
4166:
4165:
4163:
4162:
4157:
4151:
4149:
4145:
4144:
4142:
4141:
4136:
4131:
4126:
4121:
4115:
4113:
4109:
4108:
4106:
4105:
4099:
4094:
4089:
4084:
4082:Laura Peverara
4078:
4076:
4072:
4071:
4062:
4061:
4054:
4047:
4039:
4030:
4029:
4009:
3973:
3953:
3920:
3900:
3867:
3847:
3811:
3791:
3755:
3735:
3699:
3679:
3651:Chew, Geoffrey
3643:
3623:
3587:
3567:
3533:
3532:
3531:
3521:
3520:
3507:
3474:
3450:
3440:on 13 May 2006
3425:
3388:
3382:
3362:
3352:(4): 561–578.
3335:
3306:
3296:(2): 155–168.
3279:
3268:
3245:
3235:(3): 607–650.
3218:
3214:10.2307/831804
3188:
3178:(3): 333–344.
3161:
3151:(2): 253–255.
3135:
3134:
3133:
3126:
3125:
3119:
3099:Watkins, Glenn
3095:
3089:
3072:
3066:
3051:
3020:
3014:
2990:
2984:
2963:
2957:
2940:
2934:
2915:
2909:
2890:
2884:
2864:
2858:
2838:
2824:McClary, Susan
2820:
2814:
2804:. Burlington:
2793:
2787:
2770:
2764:
2748:Fallows, David
2743:
2737:
2718:
2712:
2691:
2685:
2665:
2641:
2635:
2606:
2605:
2604:
2597:
2594:
2592:
2591:
2579:
2567:
2565:, p. 101.
2555:
2553:, p. 335.
2543:
2528:
2516:
2512:Wistreich 2017
2504:
2494:, p. 17;
2490:, p. 83;
2480:
2476:Treadwell 2004
2468:
2456:
2452:Tomlinson 2017
2444:
2429:
2427:, p. 157.
2417:
2405:
2393:
2378:
2376:, p. 189.
2366:
2354:
2352:, p. 300.
2342:
2330:
2318:
2303:
2291:
2274:
2272:, p. 155.
2259:
2255:Treadwell 2000
2247:
2232:
2230:, p. 116.
2220:
2205:
2190:
2178:
2176:, p. 106.
2166:
2164:, p. 241.
2154:
2152:, p. 193.
2142:
2130:
2118:
2103:
2091:
2076:
2061:
2049:
2045:Treadwell 2000
2037:
2025:
2013:
2011:, p. 170.
2001:
1999:, p. 183.
1989:
1985:Treadwell 2002
1977:
1965:
1953:
1941:
1929:
1927:, p. 574.
1917:
1905:
1893:
1891:, p. 153.
1878:
1866:
1864:, p. 156.
1854:
1842:
1840:, p. 630.
1830:
1815:
1803:
1786:
1774:
1762:
1750:
1738:
1726:
1709:
1694:
1690:Treadwell 2002
1682:
1670:
1658:
1656:, p. 140.
1646:
1631:
1619:
1607:
1595:
1580:
1563:
1561:, p. 190.
1548:
1546:, p. 216.
1529:
1517:
1515:, p. 156.
1502:
1475:
1473:, p. 125.
1463:
1461:, p. 210.
1451:
1439:
1437:, p. 208.
1424:
1422:, p. 190.
1412:
1400:
1398:, p. 218.
1388:
1386:, p. 367.
1373:
1355:
1353:
1350:
1347:
1346:
1329:
1325:musica secreta
1316:
1306:
1285:
1264:
1247:concerto delle
1227:
1226:
1224:
1221:
1219:
1216:
1084:, kept in the
1082:Laura Peperara
1060:
1057:
1045:Torquato Tasso
1014:First Book Ă 6
1006:Leonora d'Este
1002:Carlo Gesualdo
931:
928:
859:Northern Italy
851:Il lauro verde
847:Il lauro secco
810:
807:
795:Giulio Caccini
746:
743:
694:featured four
629:musica secreta
621:musica secreta
612:
609:
607:
604:
505:musica secreta
466:Laura Peverara
461:
458:
436:, allowed the
426:musica secreta
380:) and Duchess
371:
370:
361:
360:
352:
351:
350:
349:
348:
346:
343:
297:musica secreta
211:Northern Italy
207:
204:
155:Carlo Gesualdo
106:musica secreta
82:Laura Peverara
17:
9:
6:
4:
3:
2:
4331:
4320:
4317:
4315:
4312:
4310:
4307:
4305:
4302:
4300:
4297:
4295:
4292:
4290:
4287:
4285:
4284:Baroque music
4282:
4281:
4279:
4269:
4259:
4257:
4247:
4245:
4235:
4234:
4231:
4218:
4215:
4214:
4212:
4208:
4202:
4199:
4197:
4194:
4192:
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4187:
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4182:
4179:
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4173:
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4167:
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4156:
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4152:
4150:
4146:
4140:
4137:
4135:
4132:
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4127:
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4120:
4117:
4116:
4114:
4110:
4103:
4100:
4098:
4095:
4093:
4090:
4088:
4085:
4083:
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4077:
4073:
4069:
4068:
4060:
4055:
4053:
4048:
4046:
4041:
4040:
4037:
4033:
4026:
4012:
4006:
4002:
3998:
3994:
3990:
3989:
3983:
3978:
3977:Whenham, John
3974:
3970:
3956:
3950:
3946:
3942:
3938:
3934:
3933:
3927:
3921:
3917:
3903:
3897:
3893:
3889:
3885:
3881:
3880:
3874:
3868:
3864:
3850:
3844:
3840:
3836:
3832:
3828:
3827:
3821:
3816:
3812:
3808:
3794:
3788:
3784:
3780:
3776:
3772:
3771:
3765:
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3756:
3752:
3738:
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3724:
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3715:
3709:
3704:
3700:
3696:
3682:
3676:
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3668:
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3657:
3652:
3648:
3644:
3640:
3626:
3620:
3616:
3612:
3608:
3607:
3601:
3596:
3592:
3588:
3584:
3570:
3564:
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3556:
3552:
3548:
3547:
3541:
3535:
3534:
3530:
3528:
3524:
3523:
3517:
3513:
3508:
3504:
3500:
3496:
3492:
3488:
3484:
3480:
3475:
3471:
3467:
3463:
3459:
3455:
3451:
3439:
3435:
3431:
3426:
3422:
3418:
3414:
3410:
3406:
3402:
3398:
3394:
3389:
3385:
3383:0-8240-6034-2
3379:
3375:
3371:
3369:
3363:
3359:
3355:
3351:
3347:
3346:
3341:
3336:
3331:
3326:
3322:
3318:
3317:
3312:
3307:
3303:
3299:
3295:
3291:
3290:
3285:
3280:
3276:
3275:
3269:
3265:
3261:
3257:
3256:
3251:
3246:
3242:
3238:
3234:
3230:
3229:
3228:Poetics Today
3224:
3219:
3215:
3211:
3207:
3203:
3202:
3197:
3193:
3189:
3185:
3181:
3177:
3173:
3172:
3167:
3162:
3158:
3154:
3150:
3146:
3142:
3137:
3136:
3132:
3129:
3128:
3122:
3116:
3112:
3108:
3105:. Preface by
3104:
3100:
3096:
3092:
3086:
3082:
3078:
3073:
3069:
3063:
3060:. Routledge.
3059:
3058:
3052:
3048:
3044:
3040:
3036:
3032:
3028:
3027:
3021:
3017:
3011:
3007:
3003:
2999:
2995:
2991:
2987:
2985:0-697-29379-3
2981:
2977:
2972:
2971:
2964:
2960:
2954:
2950:
2947:. Cambridge:
2946:
2941:
2937:
2931:
2927:
2923:
2922:
2916:
2912:
2906:
2902:
2898:
2897:
2891:
2887:
2881:
2877:
2874:. Champaign:
2873:
2869:
2865:
2861:
2855:
2851:
2848:. Princeton:
2847:
2843:
2839:
2835:
2831:
2830:
2825:
2821:
2817:
2811:
2807:
2803:
2799:
2794:
2790:
2784:
2780:
2776:
2771:
2767:
2761:
2757:
2753:
2749:
2744:
2740:
2734:
2730:
2726:
2725:
2719:
2715:
2709:
2705:
2700:
2699:
2692:
2688:
2682:
2678:
2674:
2670:
2666:
2662:
2658:
2654:
2650:
2646:
2642:
2638:
2632:
2628:
2624:
2620:
2616:
2612:
2608:
2607:
2603:
2600:
2599:
2589:, p. 94.
2588:
2583:
2577:, p. 34.
2576:
2571:
2564:
2559:
2552:
2547:
2540:
2535:
2533:
2525:
2520:
2513:
2508:
2501:
2497:
2493:
2489:
2484:
2477:
2472:
2466:, p. 17.
2465:
2460:
2453:
2448:
2441:
2436:
2434:
2426:
2421:
2415:, p. 72.
2414:
2409:
2403:, p. 98.
2402:
2397:
2391:, p. 93.
2390:
2385:
2383:
2375:
2370:
2363:
2358:
2351:
2346:
2339:
2338:Bianconi 2001
2334:
2327:
2322:
2316:, p. 83.
2315:
2310:
2308:
2300:
2295:
2289:, p. 53.
2288:
2283:
2281:
2279:
2271:
2266:
2264:
2257:, p. 78.
2256:
2251:
2244:
2239:
2237:
2229:
2224:
2217:
2212:
2210:
2203:, p. 85.
2202:
2197:
2195:
2187:
2182:
2175:
2170:
2163:
2158:
2151:
2146:
2140:, p. 58.
2139:
2134:
2128:, p. 57.
2127:
2122:
2116:, p. 83.
2115:
2110:
2108:
2101:, p. 59.
2100:
2095:
2089:, p. 26.
2088:
2083:
2081:
2074:, p. 25.
2073:
2068:
2066:
2058:
2053:
2047:, p. 43.
2046:
2041:
2034:
2029:
2022:
2017:
2010:
2005:
1998:
1993:
1987:, p. 29.
1986:
1981:
1975:, p. 35.
1974:
1969:
1963:, p. 82.
1962:
1957:
1951:, p. 82.
1950:
1945:
1939:, p. 49.
1938:
1933:
1926:
1921:
1915:, p. 97.
1914:
1909:
1902:
1897:
1890:
1885:
1883:
1876:, p. 25.
1875:
1870:
1863:
1858:
1851:
1846:
1839:
1834:
1828:, p. 23.
1827:
1822:
1820:
1813:, p. 19.
1812:
1807:
1800:
1795:
1793:
1791:
1784:, p. 95.
1783:
1778:
1772:, p. 49.
1771:
1766:
1760:, p. 11.
1759:
1754:
1747:
1742:
1736:, p. 40.
1735:
1730:
1723:
1718:
1716:
1714:
1706:
1701:
1699:
1692:, p. 28.
1691:
1686:
1679:
1674:
1668:, p. 56.
1667:
1662:
1655:
1650:
1644:, p. 20.
1643:
1638:
1636:
1628:
1623:
1616:
1611:
1604:
1599:
1593:, p. 71.
1592:
1587:
1585:
1578:, p. 96.
1577:
1572:
1570:
1568:
1560:
1555:
1553:
1545:
1540:
1538:
1536:
1534:
1526:
1521:
1514:
1509:
1507:
1500:, p. 80.
1499:
1494:
1492:
1490:
1488:
1486:
1484:
1482:
1480:
1472:
1467:
1460:
1455:
1448:
1447:Taruskin 2010
1443:
1436:
1431:
1429:
1421:
1416:
1409:
1404:
1397:
1392:
1385:
1380:
1378:
1370:
1365:
1363:
1361:
1356:
1343:
1339:
1333:
1326:
1320:
1310:
1303:
1299:
1295:
1289:
1282:
1278:
1274:
1268:
1261:
1260:
1255:
1254:
1249:
1248:
1243:
1242:
1235:
1233:
1228:
1215:
1213:
1210:
1206:
1202:
1198:
1194:
1192:
1189:, Duchess of
1188:
1184:
1180:
1176:
1172:
1168:
1164:
1160:
1156:
1152:
1148:
1144:
1140:
1135:
1133:
1129:
1125:
1121:
1117:
1113:
1108:
1106:
1102:
1098:
1094:
1087:
1083:
1077:
1072:
1071:
1065:
1056:
1054:
1050:
1046:
1042:
1037:
1035:
1031:
1027:
1023:
1019:
1015:
1011:
1007:
1003:
999:
995:
991:
986:
984:
980:
977:and harmonic
976:
972:
968:
963:
961:
957:
953:
949:
941:
936:
927:
925:
924:
923:prima pratica
919:
918:
913:
909:
905:
901:
897:
896:
890:
888:
884:
880:
877:published by
876:
872:
868:
864:
860:
856:
852:
848:
844:
840:
835:
832:
824:
820:
815:
806:
804:
800:
796:
792:
791:Baroque music
788:
784:
780:
776:
772:
768:
763:
760:
756:
752:
742:
740:
736:
732:
728:
724:
720:
716:
712:
707:
705:
701:
697:
693:
692:
687:
683:
682:
677:
673:
669:
664:
662:
658:
654:
650:
646:
645:sight-reading
640:
638:
634:
630:
626:
622:
618:
603:
600:
596:
592:
588:
584:
579:
577:
573:
569:
568:
563:
559:
555:
551:
547:
543:
538:
536:
532:
531:
526:
522:
517:
513:
508:
506:
502:
497:
493:
492:
487:
483:
479:
475:
471:
467:
457:
455:
451:
446:
444:
439:
435:
431:
427:
418:
404:
392:
387:
383:
379:
375:
365:
356:
342:
340:
336:
332:
329:, as well as
328:
324:
319:
318:chamber music
299:
298:
293:
289:
284:
282:
278:
258:
257:
252:
248:
244:
240:
236:
232:
228:
224:
220:
216:
212:
203:
201:
200:
195:
191:
190:secular music
187:
183:
179:
175:
171:
167:
162:
160:
156:
152:
148:
144:
140:
136:
132:
128:
108:
107:
102:
101:chamber music
98:
93:
91:
87:
83:
79:
75:
66:
52:
51:
42:
38:
34:
30:
25:
21:
16:
4112:Predecessors
4092:Livia d'Arco
4087:Anna Guarini
4075:Core members
4066:
4065:
4032:
4014:. Retrieved
3986:
3958:. Retrieved
3930:
3905:. Retrieved
3877:
3852:. Retrieved
3824:
3796:. Retrieved
3768:
3759:Fenlon, Iain
3740:. Retrieved
3712:
3703:Fenlon, Iain
3684:. Retrieved
3660:
3628:. Retrieved
3604:
3572:. Retrieved
3544:
3526:
3525:
3515:
3486:
3482:
3461:
3442:. Retrieved
3438:the original
3396:
3392:
3366:
3349:
3343:
3323:(1): 25–38.
3320:
3314:
3293:
3287:
3273:
3264:Project MUSE
3259:
3253:
3232:
3226:
3205:
3199:
3175:
3169:
3148:
3144:
3130:
3102:
3076:
3056:
3025:
2997:
2969:
2944:
2920:
2895:
2871:
2845:
2828:
2801:
2797:
2774:
2754:. Berkeley:
2751:
2723:
2697:
2672:
2669:Fenlon, Iain
2648:
2622:
2601:
2582:
2570:
2563:Newcomb 1980
2558:
2551:Coluzzi 2019
2546:
2526:, p. 1.
2519:
2507:
2500:Newcomb 1980
2483:
2478:, p. 2.
2471:
2459:
2454:, p. 4.
2447:
2440:Newcomb 1986
2420:
2413:Ugolini 2020
2408:
2401:Newcomb 1986
2396:
2389:Newcomb 1986
2374:Newcomb 1980
2369:
2362:Shindle 2001
2357:
2350:Watkins 1991
2345:
2333:
2326:Fenlon 2001b
2321:
2314:Newcomb 1980
2299:Newcomb 1980
2294:
2287:Newcomb 1980
2250:
2243:Newcomb 1980
2228:Newcomb 1980
2223:
2201:Newcomb 1980
2186:Newcomb 1980
2181:
2174:Newcomb 1986
2169:
2157:
2145:
2138:Newcomb 1980
2133:
2126:Newcomb 1980
2121:
2114:McClary 2012
2099:Newcomb 1980
2094:
2087:Newcomb 1980
2072:Newcomb 1980
2052:
2040:
2033:Whenham 2001
2028:
2021:Clapton 2006
2016:
2009:Newcomb 1980
2004:
1997:Newcomb 1980
1992:
1980:
1973:Newcomb 1980
1968:
1956:
1949:McClary 2012
1944:
1932:
1920:
1913:Newcomb 1986
1908:
1903:, p. 4.
1896:
1889:Newcomb 1980
1874:Haskell 1980
1869:
1862:Hammond 2004
1857:
1850:Fenlon 2001a
1845:
1838:HaCohen 2001
1833:
1826:Newcomb 1980
1811:Newcomb 1980
1806:
1777:
1765:
1758:Newcomb 1980
1753:
1748:, p. 7.
1746:Newcomb 1980
1741:
1729:
1705:Newcomb 2001
1685:
1673:
1666:Newcomb 1980
1661:
1649:
1642:Newcomb 1980
1627:Newcomb 1980
1622:
1610:
1603:Newcomb 1980
1598:
1591:Ugolini 2020
1576:Newcomb 1986
1527:, p. 4.
1525:Newcomb 1980
1520:
1466:
1454:
1442:
1415:
1403:
1391:
1371:, p. 2.
1332:
1324:
1319:
1309:
1288:
1272:
1267:
1258:
1257:
1252:
1251:
1246:
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1182:
1158:
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1123:
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1069:
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1033:
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987:
982:
964:
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947:
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921:
915:
911:
893:
891:
886:
874:
871:Paolo Virchi
862:
850:
846:
842:
836:
834:spectacle".
830:
828:
818:
817:Luzzaschi's
802:
798:
786:
782:
778:
770:
766:
764:
758:
750:
748:
734:
726:
714:
710:
708:
695:
689:
679:
670:were female
667:
665:
661:crossdressed
656:
652:
641:
636:
628:
624:
620:
616:
614:
598:
587:Papal States
580:
571:
565:
539:
534:
528:
520:
511:
509:
504:
489:
478:Anna Guarini
474:Livia d'Arco
463:
453:
449:
447:
437:
434:Luigi d'Este
425:
402:
400:
311:secret music
295:
285:
259:(those from
256:Oltremontani
254:
209:
197:
185:
165:
163:
134:
120:secret music
104:
94:
90:Anna Guarini
86:Livia d'Arco
49:
48:
46:
32:
28:
20:
15:
4104:(uncertain)
3647:Carter, Tim
3591:Carter, Tim
3489:(1): 1–22.
3432:. Chicago:
3345:Early Music
3316:Early Music
3289:Early Music
3255:Early Music
3208:(1): 1–25.
3171:Early Music
3145:Early Music
3079:. Toronto:
2924:. Toronto:
2832:. Berkley:
2496:Morton 2022
2492:Cusick 1993
2488:Pendle 2001
2464:Cusick 1993
2425:Morton 2022
1961:Pendle 2001
1734:Pendle 2001
1678:Arnold 1982
1513:Morton 2022
1498:Pendle 2001
1471:Fenlon 1980
1420:Stolba 1994
1294:Judith Tick
1277:Renaissance
1212:art gallery
1203:, the harp
1074: [
908:vocal range
676:falsettists
611:Performance
558:harpsichord
395:of Ferrara)
389: [
386:Jean Bahuet
290:, the Duke
275:), such as
243:Renaissance
4278:Categories
4169:Associates
3991:. Oxford:
3982:"Orfeo(i)"
3935:. Oxford:
3882:. Oxford:
3829:. Oxford:
3773:. Oxford:
3717:. Oxford:
2651:. London:
2524:Stras 2018
2270:Stark 1999
2162:Stras 2018
2150:Stark 1999
2057:Sherr 1980
1925:Savan 2018
1901:Stras 2018
1799:Springfels
1770:LaMay 2002
1654:Stras 2018
1615:Stras 2018
1559:Stark 1999
1396:Stras 2018
1384:LaMay 2005
1369:Stras 2018
1314:sopranos".
1218:References
1132:propaganda
1067:The harp,
1018:Monteverdi
979:dissonance
809:Repertoire
755:ornamented
719:play cards
206:Background
4027:required)
3971:required)
3918:required)
3865:required)
3809:required)
3761:(2001b).
3753:required)
3705:(2001a).
3697:required)
3641:required)
3585:required)
3503:1474-0621
3470:2317-6377
3413:0034-4338
3374:Routledge
3157:0306-1078
2779:Routledge
2661:254055896
2587:Kuhn 2020
2575:Niwa 2005
1722:Tick 2001
1352:Citations
1059:Influence
998:madrigals
900:virtuosic
895:tessitura
715:concerto'
649:partbooks
633:courtiers
486:madrigals
419:of ladies
372:The Duke
345:Formation
67:of ladies
41:virtuosic
4016:11 April
3979:(2001).
3960:11 April
3907:11 April
3854:11 April
3817:(2001).
3798:11 April
3742:11 April
3686:11 April
3653:(2001).
3630:11 April
3597:(2001).
3574:11 April
3462:Per Musi
3370:: Europe
3131:Articles
3101:(1991).
3047:53291961
2844:(1980).
2826:(2012).
2750:(1998).
2671:(1980).
2621:(2014).
1342:socratic
1163:Florence
1120:concerti
1053:concerto
1016:, while
992:include
990:concerto
971:cadences
967:harmonic
926:style .
863:concerto
805:styles.
803:passaggi
775:stepwise
771:passaggi
735:concerto
727:concerto
696:castrato
681:castrati
672:sopranos
668:concerto
653:balletti
635:saw the
572:concerto
564:was the
443:carnival
438:concerto
323:Lucrezia
235:madrigal
231:frottola
194:madrigal
127:Lucrezia
103:series,
33:concerto
4230:Portals
4210:Printer
4148:Patrons
3529:sources
3444:11 July
3421:2861534
3029:(PhD).
2596:Sources
1281:Ferrara
1207:in the
1179:Gonzaga
1177:by the
1169:by the
869:, with
799:accenti
787:Accenti
779:cadenze
704:eunuchs
691:L'Orfeo
595:Ferrara
574:on the
525:dowries
417:consort
410:
305:
288:Ferrara
264:
239:secular
223:Gonzaga
114:
78:Ferrara
65:consort
58:
4007:
3951:
3898:
3845:
3789:
3733:
3677:
3621:
3565:
3501:
3468:
3464:(36).
3419:
3411:
3380:
3155:
3117:
3087:
3064:
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3000:. The
2982:
2955:
2932:
2907:
2882:
2856:
2812:
2785:
2762:
2735:
2710:
2683:
2659:
2633:
1191:Urbino
1175:Mantua
1173:, and
1171:Orsini
1143:Medici
904:florid
867:Venice
783:tirate
739:scores
583:Cesare
548:, and
470:Mantua
333:, and
227:Medici
225:, and
182:Orsini
178:Medici
4268:Music
4256:Italy
3527:Grove
3417:JSTOR
2602:Books
1223:Notes
1147:Paris
1080:, of
1078:]
975:leaps
745:Style
731:dwarf
686:opera
647:from
606:Music
535:scudi
530:scudi
393:]
4018:2006
4005:ISBN
3962:2006
3949:ISBN
3909:2006
3896:ISBN
3856:2006
3843:ISBN
3800:2006
3787:ISBN
3744:2006
3731:ISBN
3688:2006
3675:ISBN
3632:2006
3619:ISBN
3576:2006
3563:ISBN
3518:(8).
3499:ISSN
3466:ISSN
3446:2006
3409:ISSN
3378:ISBN
3153:ISSN
3115:ISBN
3085:ISBN
3062:ISBN
3043:OCLC
3010:ISBN
2980:ISBN
2953:ISBN
2930:ISBN
2905:ISBN
2880:ISBN
2854:ISBN
2810:ISBN
2783:ISBN
2760:ISBN
2733:ISBN
2708:ISBN
2681:ISBN
2657:OCLC
2631:ISBN
1271:The
1259:dame
1250:(or
1167:Rome
1047:and
902:and
898:, a
881:and
857:and
855:Rome
801:and
615:The
576:lute
550:viol
546:harp
542:lute
476:and
407:lit.
384:(by
376:(by
325:and
302:lit.
279:and
261:lit.
219:Este
180:and
174:Este
164:The
157:and
145:and
129:and
111:lit.
88:and
55:lit.
47:The
3997:doi
3941:doi
3888:doi
3835:doi
3779:doi
3723:doi
3667:doi
3611:doi
3555:doi
3491:doi
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3354:doi
3325:doi
3298:doi
3237:doi
3210:doi
3180:doi
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