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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>List of Illustrations</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>ix</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>List of Music Examples</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>xi</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>List of Contributors</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>xii</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>INTRODUCTION TO THE MANY HEADED ONES</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Preliminaries</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>3</TD><TD VALIGN=TOP>(12)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Thomasin LaMay</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Portrait of the Artist as (Female) Musician</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>15</TD><TD VALIGN=TOP>(48)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Linda Phyllis Austern</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>WOMEN EN-VOICED</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Chivalric Romance, Courtly Love and Courtly Song: Female Vocality and Feminine Desire in the World of Amadis de Gaule</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>63</TD><TD VALIGN=TOP>(34)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Jeanice Brooks</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Music and Women in Early Modern Spain: Some Discrepancies between Educational Theory and Musical Practice</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>97</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Pilar Ramos Lopez</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Virtue, Illusion, Venezianita: Vocal Bravura and the Early Cortigiana Onesta</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>119</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Shawn Marie Keener</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Strong Men -- Weak Women: Gender Representation and the Influence of Lully's ``Operatic Style'' on French Airs Serieux (1650-1700)</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>135</TD><TD VALIGN=TOP>(36)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Catherine E. Gordon-Seifert</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>WOMEN ON STAGE</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>From Whore to Stuart Ally: Musical Venuses on the Early Modern English Stage</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>171</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Amanda Eubanks Winkler</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>With a Sword by Her Side and a Lute in Her Lap: Moll Cutpurse at the Fortune</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>187</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Raphael Seligmann</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>La sirena antica dell'Adriatico: Caterina Porri, a Seventeenth-Century Roman Prima Donna on the Stages of Venice, Bologna, and Pavia</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>211</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Beth L. Glixon</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Serf Actresses in the Tsarinas' Russia: Social Class Cross-Dressing in Russian Serf Theaters of the Eighteenth Century</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>239</TD><TD VALIGN=TOP>(32)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Inna Naroditskaya</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>WOMEN FROM THE CONVENTS</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Good Mother, the Reluctant Daughter, and the Convent: A Case of Musical Persuasion</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>271</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Colleen Reardon</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>``Hired'' Nun Musicians in Early Modern Castile</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>287</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Colleen Baade</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Sor Juana Ines de la Cruz and Music: Mexico's ``Tenth Muse''</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>311</TD><TD VALIGN=TOP>(26)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Enrique Alberto Arias</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>WOMEN, COLLECTIONS, AND PUBLISHING</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Patronage and Personal Narrative in a Music Manuscript: Marguerite of Austria, Katherine of Aragon, and London Royal 8 G.vii</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>337</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Jennifer Thomas</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Composing from the Throat: Madalena Casulana's Primo libro de madrigali, 1568</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>365</TD><TD VALIGN=TOP>(34)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Thomasin LaMay</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Princess Elizabeth Stuart as Musician and Muse</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>399</TD><TD VALIGN=TOP>(26)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Janet Pollack</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Epilogue: Francesca Among Women, a '600 Gynecentric View</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>425</TD><TD VALIGN=TOP>(20)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Suzanne G. Cusick</TD></TR></TABLE></TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>445</TD><TD></TD></TR></TABLE>

"This collection offers a glimpse at women from home, stage, work, and convent, from many classes and from culturally diverse countries - including France, Spain, Italy, England, Austria, Russia and Mexico - and imagines a musical history centered in the realities of those lives."--Jacket

Musical voices of early modern women : many-headed melodies