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Table of Contents
Cover; Half-title; Series information; Title page; Copyright information; Dedication; Table of contents; List of Figures; List of Music Examples; List of Tables; Acknowledgments; Note on Music Prints and Translations; List of Abbreviations; Introduction: Musica secreta; Secret Histories: Ferrarese Women in Musicological Literature; Secret Combinations: Putting the Histories Together; Doing Music History; 1 Ferrarese Convents and the Este in the First Half of the Sixteenth Century; Music and Convent Life; The Este and Ferrarese Convents at the Beginning of the Sixteenth Century
The Este and the Convent of Corpus DominiThe Musical Legacy of Caterina Vigri; Suor Leonora d'Este; The Voci Pari Motets of the 1540s and Their Ferrarese Context; Performance Implications; Scotto's Voci Pari Collection of 1563; 2 Courtly Women and Secular Music in Ferrara in the First Half of the Sixteenth Century; Mid-Sixteenth-Century Musical Women: The Noblewoman; Mid-Sixteenth-Century Musical Women: The Courtesan; The Este Women and Music in the Mid-Sixteenth Century; Music for the Noblewomen of Ercole II's Ferrara; Bertoldo di Bertoldi and Laura d'Este
3 Princesses and Politics: The Este Women and Music in the 1550sThe Marriage Negotiations for Anna; Musical Echoes of the Negotiations in Early Works by Cipriano De Rore; The Madrigali d'amore and the Madrigali de la Fama of 1548; Selene and Gli Antivalomeni: Giraldi's Didactic Spectacles; Francesco Dalla Viola, Cipriano de Rore, and the Ferrarese Madrigal in the 1550s; Traces of Ferrarese Song in Giaches de Wert's Primo libro de' madrigali a quattro voci of 1561; 4 Actresses and Ariosto: Spectacle and Song in the 1560s; Berchem's Capriccio of 1561
The First Singing Ladies: Lucrezia Bendidio and Tarquinia MolzaSinging Actresses and Ariostean Spectacle; The New "New Music"; A World Turned Upside Down; 5 "Un modo di cantare molto diverso": Ferrara and the New Singing of the 1570s; The Bendidio Sisters at Brescello in 1571; The Convents in the Early 1570s; The Court in Recovery; Leonora Sanvitale and the Farnese Connection; Neapolitan Song Before the 1570s; Ferrarese Courtly Music in the 1570s; Bardi on De Rore: An Outsider's View of the Ferrarese Musical Legacy in the 1570s
6 Margherita's Arrival and the Convents in the First Half of the 1580sConvents and Music in the 1580s; The Este Women and the Convents of Ferrara in the 1580s; Musical Practice in San Vito in the 1580s; 7 Musical Practices of the 1580s Concerto; The Commemorative Volumes of the 1580s; Lodovico Agostini's Il nuovo Echo (1583); Giaches de Wert's L'ottavo libro de madrigali a cinque voci (1586): The Apotheosis of the Concerto; Traces of the Concerto's Performance Practice in the 1580s Repertoire; Transposition; Bass Lines and Accompaniment Style; Ensemble Ornamentation
The Este and the Convent of Corpus DominiThe Musical Legacy of Caterina Vigri; Suor Leonora d'Este; The Voci Pari Motets of the 1540s and Their Ferrarese Context; Performance Implications; Scotto's Voci Pari Collection of 1563; 2 Courtly Women and Secular Music in Ferrara in the First Half of the Sixteenth Century; Mid-Sixteenth-Century Musical Women: The Noblewoman; Mid-Sixteenth-Century Musical Women: The Courtesan; The Este Women and Music in the Mid-Sixteenth Century; Music for the Noblewomen of Ercole II's Ferrara; Bertoldo di Bertoldi and Laura d'Este
3 Princesses and Politics: The Este Women and Music in the 1550sThe Marriage Negotiations for Anna; Musical Echoes of the Negotiations in Early Works by Cipriano De Rore; The Madrigali d'amore and the Madrigali de la Fama of 1548; Selene and Gli Antivalomeni: Giraldi's Didactic Spectacles; Francesco Dalla Viola, Cipriano de Rore, and the Ferrarese Madrigal in the 1550s; Traces of Ferrarese Song in Giaches de Wert's Primo libro de' madrigali a quattro voci of 1561; 4 Actresses and Ariosto: Spectacle and Song in the 1560s; Berchem's Capriccio of 1561
The First Singing Ladies: Lucrezia Bendidio and Tarquinia MolzaSinging Actresses and Ariostean Spectacle; The New "New Music"; A World Turned Upside Down; 5 "Un modo di cantare molto diverso": Ferrara and the New Singing of the 1570s; The Bendidio Sisters at Brescello in 1571; The Convents in the Early 1570s; The Court in Recovery; Leonora Sanvitale and the Farnese Connection; Neapolitan Song Before the 1570s; Ferrarese Courtly Music in the 1570s; Bardi on De Rore: An Outsider's View of the Ferrarese Musical Legacy in the 1570s
6 Margherita's Arrival and the Convents in the First Half of the 1580sConvents and Music in the 1580s; The Este Women and the Convents of Ferrara in the 1580s; Musical Practice in San Vito in the 1580s; 7 Musical Practices of the 1580s Concerto; The Commemorative Volumes of the 1580s; Lodovico Agostini's Il nuovo Echo (1583); Giaches de Wert's L'ottavo libro de madrigali a cinque voci (1586): The Apotheosis of the Concerto; Traces of the Concerto's Performance Practice in the 1580s Repertoire; Transposition; Bass Lines and Accompaniment Style; Ensemble Ornamentation