Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-5g6vh Total loading time: 0 Render date: 2024-04-27T04:13:22.072Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  05 September 2018

Laurie Stras
Affiliation:
University of Huddersfield
Get access
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Merenda, Girolamo. Vite dei signori d’Este vissuti al tempo dello scrittore. Principia col card. Ippolito I, e termina col principe Cesare, 1592. Coll. Antonelli 332.Google Scholar
Mucanzio, Giovanni Paulo. “Diarorum Caeremonialium Joannis Pauli Mucanti Romani J.U. Doctoris, et Caerimonarium Apostolicarum Magistri,” 1598. Add., 8451.Google Scholar
Guarini, Tiberio. Breve naratione e vera Historia della fondatione del Monastero di S. Orsola, c. 1620. Ms. 1088.Google Scholar
Autori diversi. Madrigali a cinque voci. Mus. F.1358.Google Scholar
Guarini, Marcantonio. Breve descrittione della sua vita e delle cose ne’ suoi tempi accadute in Ferrara sino al MDXCVI, 1596. Manoscritti italiani 368 (α.M.5.18).Google Scholar
Guarini, Marcantonio. Diario di tutte le cose accadute nella Nobilissima Città di Ferrara principiando per tutto l’Anno MDLXX sino a questo dì et Anno MDLXXXXVII, 1597. Manoscritti italiani 285 (α.H.2.16).Google Scholar
Guarini, Marcantonio. Diario descritto da Marc’antonio Guarini di tutte le cose al suo tempo accadute nella nobilissima Città di Ferrara principiando per tutto il dì 28 di Genaio dell’anno presente 1598 sino a questo dì et anno presente, n.d. Manoscritti italiani 387 (α.H.2.17).Google Scholar
Merenda, Girolamo. Istorie di Ferrara, 1596. Manoscritti italiani 132 (α.G.6.28).Google Scholar
Merenda, Girolamo. Memorie di Ferrara, n.d. Manoscritti italiani 354 (α.T.5.1).Google Scholar

Secondary Sources

Merenda, Girolamo. Vite dei signori d’Este vissuti al tempo dello scrittore. Principia col card. Ippolito I, e termina col principe Cesare, 1592. Coll. Antonelli 332.Google Scholar
Mucanzio, Giovanni Paulo. “Diarorum Caeremonialium Joannis Pauli Mucanti Romani J.U. Doctoris, et Caerimonarium Apostolicarum Magistri,” 1598. Add., 8451.Google Scholar
Guarini, Tiberio. Breve naratione e vera Historia della fondatione del Monastero di S. Orsola, c. 1620. Ms. 1088.Google Scholar
Autori diversi. Madrigali a cinque voci. Mus. F.1358.Google Scholar
Guarini, Marcantonio. Breve descrittione della sua vita e delle cose ne’ suoi tempi accadute in Ferrara sino al MDXCVI, 1596. Manoscritti italiani 368 (α.M.5.18).Google Scholar
Guarini, Marcantonio. Diario di tutte le cose accadute nella Nobilissima Città di Ferrara principiando per tutto l’Anno MDLXX sino a questo dì et Anno MDLXXXXVII, 1597. Manoscritti italiani 285 (α.H.2.16).Google Scholar
Guarini, Marcantonio. Diario descritto da Marc’antonio Guarini di tutte le cose al suo tempo accadute nella nobilissima Città di Ferrara principiando per tutto il dì 28 di Genaio dell’anno presente 1598 sino a questo dì et anno presente, n.d. Manoscritti italiani 387 (α.H.2.17).Google Scholar
Merenda, Girolamo. Istorie di Ferrara, 1596. Manoscritti italiani 132 (α.G.6.28).Google Scholar
Merenda, Girolamo. Memorie di Ferrara, n.d. Manoscritti italiani 354 (α.T.5.1).Google Scholar
Agazzari, Agostino. Del sonare sopra ’l basso con tutti li stromenti e dell’uso loro nel conserto. Siena: Falcini, 1607.Google Scholar
Agostini, Lodovico. Canzoni alla napolitana a cinque voci … libro primo. Venice: Heirs of Antonio Gardano, 1574.Google Scholar
Agostini, Lodovico. L’Echo, et Enigmi musicali a sei voci … Libro secondo. Venice: Gardano, 1581.Google Scholar
Agostini, Lodovico. Madrigali … Libro Terzo. A sei voci. Ferrara: Heirs of Francesco Rossi, and Paolo Tortorino, 1582.Google Scholar
Agostini, Lodovico. Musica … Libro secondo de madrigali a quatro voci. Venice: Heirs of Antonio Gardano, 1572.Google Scholar
Agostini, Lodovico. Il nuovo Echo a cinque voci. Ferrara: Baldini 1583.Google Scholar
Aleotti, Raffaella. Sacrae cantiones quinque, septem, octo et decem vocibus decantandae. Liber primus. A r.s. Raphaela Aleotta Ferrariensi in monasterio rever. monialium S. Viti monaca. Venice: Amadino, 1593.Google Scholar
Aron, Pietro. Lucidario in musica. Venice: Scotto, 1545.Google Scholar
Artusi, Giovanni Maria. L’Artusi, ovvero delle imperfettioni della moderna musica ragionamenti dui. Venice: Vincenti, 1600.Google Scholar
Berchem, Jachet de. Primo, secondo et terzo libro del capriccio di Iachetto Berchem con la musica da lui composta sopra le stanze del Furioso .... A quatro voci. Venice: Gardano, 1561.Google Scholar
Bertoldi, Bertoldo di. Il primo libro di madregali … a quatro voci. Venice: Gardano, 1544.Google Scholar
[Bombasi, Gabriele]. Il Successo dell’Alidoro tragedia rappresentata in Reggio alla Sereniss. Regina Barbara d’Austria Duchessa di Ferrara. Reggio: Bartoli, n.d.Google Scholar
Borsetti, Andrea. Supplemento al compendio historico del Signor D. Marc’ Antonio Guarini in cui si contiene l’origine, e accrescimento delle chiese di Ferrara, fino all’anno 1670, etc. Ferrara: Giglio, 1670.Google Scholar
Bottrigari, Hercole. Il Desiderio overo, De concerti di uarij strumenti musicali. Dialogo di Alemanno Benelli, etc. Venice: Amadino, 1594.Google Scholar
Buus, Jacques de. Primo libro di canzoni francese a sei voci. Venice: Gardano, 1543.Google Scholar
Castiglione, Baldassare. Il libro del cortegiano. Venice: Aldo Romano, 1508.Google Scholar
De Rore, Cipriano. Il primo libro de madrigali a quatro voci ... novamente poste in luce. Ferrara: Buglhat and Hucher, 1550.Google Scholar
De Rore, Cipriano. Il quarto libro d’i madregali a cinque voci con uno madregale a sei et uno dialogo a otto … Venice: Gardano, 1557.Google Scholar
De Rore, Cipriano. Il secondo libro de madrigali a quattro voci con una canzon di Gianneto sopra di Pace non trovo … Venice: Gardano, 1557.Google Scholar
De Wert, Giaches. Il primo libro de madrigali a cinque voci. Venice: Scotto, 1558.Google Scholar
De Wert, Giaches. Il primo libro de’ madrigali a quattro voci. Venice: Scotto, 1561.Google Scholar
De Wert, Giaches. Il settimo libro de madrigali a cinque voci. Venice: Gardano, 1581.Google Scholar
De Wert, Giaches. L’ottavo libro de madrigali a cinque voci. Venice: Gardano, 1586.Google Scholar
Faustini, Agostino. Aggiunta alle historie del Sig. Gasparo Sardi nuovamente composta. Ferrara: Gironi, 1646.Google Scholar
Fiesco, Giulio. Madrigali … nuovamente posti in luce et corretti da Claudio da Correggio. All’Illustriss. Et Eccellentiss. Madama Lucretia Da Este. A cinque voci. Libro secondo. Venice: [Angelieri], 1567.Google Scholar
Fiesco, Giulio. Musica nova a cinque voci di Giulio Fiesco dedicata alle illustrissime et eccellentissime madame Lucretia et Leonora da Este. Novamente per Antonio Gardano stampata e data in luce. Libro primo. Venice: Gardano, 1569.Google Scholar
Fontana, Giovanni. Constitutioni et ordinationi generali appartenenti alle Monache, pubblicate d’ordine di Monsig. Reverendiss. Vescovo di Ferrara, l’anno MDXCIX. Ferrara: Baldini, 1599.Google Scholar
Galilei, Vincenzo. Fronimo: Dialogo di Vincentio Galilei nobile fiorentino, sopra l’arte del bene intavolare, et rettamente sonare la musica … novamente ristampato. Venice: Heirs of Girolamo Scotto, 1584.Google Scholar
Giraldi Cinzio, Giambattista. Gli Antivalomeni: Tragedia. Venice: Cagnacini, 1583.Google Scholar
Giraldi Cinzio, Giambattista. Selene. Venice: Cagnacini, 1583.Google Scholar
Grandi, Alessandro. Motetti a cinque voci. Ferrara: Baldini, 1614.Google Scholar
Guarini, Marcantonio. Compendio historico dell’origine, accrescimento e prerogative delle chiese e luoghi pij della città e diocesi di Ferrara, etc. Ferrara: Heirs of Vittorio Baldini, 1621.Google Scholar
Isnardi, Paolo. Missae quatuor vocum … Venice: Heirs of Antonio Gardano, 1573.Google Scholar
Isnardi, Paolo. Psalmi omnes ad vesperas per totum annum, una cum tribus Magnificat, quorum unum tum pari, tum plena voce, ut libet cani potest ... quatuor vocum. Venice: Gardano, 1569.Google Scholar
Isnardi, Paolo. Secondo libro de madrigali a cinque voci. Venice: Gardano, 1577.Google Scholar
Jachet of Mantua, . Il secondo libro de le messe a cinque voci. Venice: Scotto, 1555 (RISM 15551).Google Scholar
Luzzaschi, Luzzasco. Madrigali per cantare e sonare a uno, doi e tre soprani, fatti per la musica del già Serenissimo duca Alfonso d’Este. Rome: Verovio, 1601.Google Scholar
Luzzaschi, Luzzasco. Il primo libro de madrigali a cinque voci. Ferrara: Rossi, 1571.Google Scholar
Luzzaschi, Luzzasco. Secondo libro de madrigali a cinque voci. Venice: Gardano, 1576.Google Scholar
Luzzaschi, Luzzasco. Sesto libro de madrigali a cinque voci. Ferrara: Baldini, 1596.Google Scholar
Luzzaschi, Luzzasco. Terzo libro de madrigali a cinque voci. Venice: Gardano, 1582.Google Scholar
Madrigali de la Fama a quattro voce composti novamente da diversi eccellentissimi musici con iudicio raccolti et con diligentia stampati. Fora del solito modo corretti, come a ciascuno facendone prova sara palese. Venice: Scotto, 1548 (RISM 15487).Google Scholar
Madrigali de la Fama a quatro voci composti da l’infrascritti autori, novamente con diligentia stampati et corretti. Cypriano de Rore. Francesco da la Viola. Francesco Manara. Venice: Gardano, 1548 (RISM 15488).Google Scholar
Malatesta, Gioseppe. Della nuova poesia, overo delle difese del Furioso, dialogo … Verona: Dalle Donne, 1590.Google Scholar
Menon, Tuttovale. Madrigali d’amore a quattro voci composti da Tuttovale Menon, et nuovamente stampati et con diligentia corretti. Ferrara: Buglhat and Hucher, 1548.Google Scholar
Menon, Tuttovale. Madrigali d’amore a quatro voci, composti dallo eccell. Musico Tuttovale Menon, et nuovamente stampati, et con somma diligentia corretti. Venice: Scotto, 1549.Google Scholar
Milleville, Alessandro. Le Vergini con dieci altre stanze spirituali, a quattro voci. Ferrara: Baldini, 1584.Google Scholar
Milleville, Alessandro. Libro primo de madrigali a cinque voci. Venice: Gardano, 1575.Google Scholar
Mosti, Agostino. Lettera nuova de tutte l’entrate feste giostre, comedie, e doni per la venuta di Papa Paolo III. a Ferrara cosa molto bella. Ferrara: n.p., 1543.Google Scholar
Motetta d. Cipriani de Rore et aliorum auctorum quatuor vocum parium de canenda cum tribus lectionibus pro mortuis, Iosepho Zerlino auctore. Venice: Scotto, 1563 (RISM 15634).Google Scholar
Musica quinque vocum: motteta materna lingua vocata, ab optimis et varijs authoribus elaborata. Paribus vocibus decantanda: nunquàm antea excussa …Maximo labore et dilgentia emendata, ut patebit experientibus. Venice: Scotto, 1543 (RISM 15432).Google Scholar
Musica quinque vocum que materna lingua moteta vocantur ab optimis et uarijs authoribus elaborata, paribus vocibus decantanda nuperrime soliciti cura recognita atque in lucem producta. Venice: Gardano, 1549 (RISM 15496).Google Scholar
Officium Beatae Catharinae virginis de Bononia, Ordinis Sanctae Clarae. Bologna: Giaccarelli, 1550.Google Scholar
Rodio, Rocco. Aeri racolti insieme con altri bellissimi aggionti di diversi Dove si cantano Sonetti, Stanze e Terze Rime, nuovamente ristampti. Naples: Cacchio, 1577.Google Scholar
Tasso, Torquato. Gierusalemme liberata, poema heroico del sig. Torquato Tasso ... Tratta dal vero originale, con aggiunta di quanto manca nell'altre edittioni. Ferrara: Baldini, 1581.Google Scholar
Tassoni, Ercole Estense. L’Isola beata torneo fatto nella città di Ferrara per la venuta del serenissimo Principe Carlo Archiduca d’Austria. A XXV di Maggio MDLXIX. Ferrara: n.p., 1569.Google Scholar
Veggio, Giovanni Agostino. Primo libro de madrigali a quattro voci. Parma: Viotto, 1575.Google Scholar
Vicentino, Nicola. L’antica musica ridotta alla moderna prattica. Rome: Barré, 1555.Google Scholar
Willaert, Adriano. Musica nova. Venice: Gardano, 1559.Google Scholar
Zarlino, Gioseffo. Sopplimenti musicali … nei quali si dichiarano molte cose contenute nei due primi volumi, delle Istitutioni e Dimostrationi … Terzo volume. Venice: Francesco de’ Franceschi, 1588.Google Scholar
Zarlino, Gioseffo. Utilissimo trattato della patientia, a tutti quelli che desiderano vivere christianamente. Del reverendo m. Gioseffo Zarlino, da Chioza. Venice: Franceschi, 1561.Google Scholar
Albèri, Eugenio, ed. Relazioni degli ambasciatori veneti al Senato. Vol. 5. Venice: Società Editrice Fiorentina, 1841.Google Scholar
Albèri, Eugenio, ed. Relazioni degli ambasciatori veneti al Senato: Appendice. Vol. 4. Venice: Naratovich, 1863.Google Scholar
Aleotti, Raffaella. Sacrae cantiones: quinque, septem, octo & decem vocibus decantandae (1593). Edited by Carruthers, C. Ann, introduction revised and expanded by Thomas Bridges and Massimo Ossi. New York: Broude Trust, 2006.Google Scholar
Aleotti, Vittoria [Raffaella]. Ghirlanda de madrigali a quatro voci. Edited by Carruthers, C. Ann. New York: Broude Trust, 1994.Google Scholar
d’Aragona, Tullia. Dialogue on the Infinity of Love. Edited and translated by Russell, Rinaldina and Merry, Bruce. Chicago and London: University of Chicago Press, 2007.Google Scholar
Aretino, Pietro. Sei giornate: Ragionamento della Nanna e della Antonia (1534): Dialogo nel quale la Nanna insegna a la Pippa (1536), edited by Romano, Angelo. Milan: Mursia, 1991.Google Scholar
Ariani, Marco. “Dilatazioni meliche.” In Il Cinquecento, edited by Da Pozzo, Giovanni, Vol. 2: La normativa e il suo contrario (1533–1573). Storia letteraria d’Italia. Padua: PICCIN Nuova Libreria, 2007.Google Scholar
Ariani, Marco. ed. La tragedia del Cinquecento. Vol. 2. Turin: Einaudi, 1977.Google Scholar
Ariosto, Ludovico. Orlando Furioso. Edited and translated by Guido Waldman. 2nd edn. Oxford World Classics. Oxford and New York: Oxford University Press, 1983.Google Scholar
Ashworth, Jack, and O’Dette, Paul. “Proto-Continuo.” In A Performer’s Guide to Renaissance Music, edited by Kite-Powell, Jeffery T., 225–37. Bloomington: Indiana University Press, 2007.Google Scholar
Atlas, Allan W. Music at the Aragonese Court of Naples. Cambridge: Cambridge University Press, 2008.Google Scholar
Balsano, Maria Antonella. “‘Solo e pensoso’, Fior d’ogni pensiero diviene villanella e canzonetta.” In Villanella, napolitana, canzonetta: Relazioni tra Gasparo Fiorino, compositori calabresi e scuole italiane del Cinquecento, 1122. Vibo Valentia: Instituto di Bibliografia Musicale Calabrese, 1999.Google Scholar
Bardi, Giovanni de’. “Discorso … sopra la musica antica, e ’l cantar bene (c.1578).” In The Florentine Camerata: Documentary Studies and Translations, edited and translated by Palisca, Claude V.. New Haven, CT: Yale University Press, 1989.Google Scholar
Belli, Aderito. “Eleonora Sanvitali Contessa di Scandiano.” Aurea Parma 23 (1939): 146–54.Google Scholar
Belvederi, Raffaele. “I vescovi postridentini nella diocesi di Ferrara e la pastorale borromaica.” In San Carlo e il suo tempo: Atti del Convegno Internazionale nel IV centenario della morte (Milano, 21–26 maggio 1984), 345–83. Rome: Edizioni di Storia e Letteratura, 1986.Google Scholar
Bembo, Illuminata. Specchio di illuminazione. Edited by Mostaccio, Silvia. Caterina Vigri. La Santa e la Città 3. Florence: SISMEL – Edizioni del Galluzzo, 2001.Google Scholar
Benson, Pamela J. The Invention of the Renaissance Woman: The Challenge of Female Independence in the Literature and Thought of Italy and England. University Park: Pennsylvania State University Press, 1992.Google Scholar
Berengan, Giuliana, and Calore, Marina. Le custodi del sacro: Viaggio nei monasteri ferraresi delle donne. Voci e silenzi. Ferrara delle donne. Ferrara: Navale Assicurazioni, 1999.Google Scholar
Bernstein, Jane A. Music Printing in Renaissance Venice: The Scotto Press (1539–1572). New York and Oxford: Oxford University Press, 1998.Google Scholar
Bernstein, Jane A. Print Culture and Music in Sixteenth-Century Venice. Oxford and New York: Oxford University Press, 2001.Google Scholar
Bernstein, Lawrence F.‘La Courone et fleur des chansons a troys’: A Mirror of the French Chanson in Italy in the Years between Ottaviano Petrucci and Antonio Gardano.” Journal of the American Musicological Society 26, no. 1 (1973): 168.Google Scholar
Besutti, Paola. “Dal madrigale alla musica scenica: Il ruolo degli interpreti tra teoria e prassi.” In Neoplatonismo, musica, letteratura nel rinascimento, edited by Gargiulo, Piero, Magini, Alessandro, and Toussaint, Stéphane, 149–71. Cahiers Accademia. Lucca: San Marco Litotipo, 2000.Google Scholar
Besutti, Paola. “Spaces for Music in Late Renaissance Mantua.” In The Cambridge Companion to Monteverdi, edited by Whenham, John and Wistreich, Richard, 7694. Cambridge: Cambridge University Press, 2007.Google Scholar
Bizzarini, Marco. “L’esordio del Guarini ‘Poeta per musica’: le intonazioni della raccolta Musica nova (1569) di Giulio Fiesco.” In Rime e lettere di Battista Guarini, edited by Da Rif, Bianca Maria, 173–96. Alessandria: Edizioni dell’Orso, 2008.Google Scholar
Bizzarini, Marco. Luca Marenzio: The Career of a Musician between the Renaissance and the Counter-Reformation. Translated by James Michael Chater. Aldershot: Ashgate, 2003.Google Scholar
Blackburn, Bonnie J.Anna Inglese and Other Women Singers in the Fifteenth Century: Gleanings from the Sforza Archives.” In Sleuthing the Muse: Essays in Honor of William F. Prizer, edited by Forney, Kristine K. and Smith, Jeremy L., 237–52. Hillsdale, NY: Pendragon Press, 2012.Google Scholar
Blackburn, Bonnie J.The Virgin in the Sun: Music and Image for a Prayer Attributed to Sixtus IV.” Journal of the Royal Musical Association 124, no. 2 (1999): 157–95.CrossRefGoogle Scholar
Blackburn, Bonnie J., and Lowinsky, Edward. “Luigi Zenobi and His Letter on the Perfect Musician.” Studi musicali 22, no. 1 (1993): 61114.Google Scholar
Blaisdell, Charmarie Jenkins. “Politics and Heresy in Ferrara, 1534–1559.” The Sixteenth Century Journal 6, no. 1 (1975): 6793.Google Scholar
Blaisdell[Webb], Charmarie Jenkins. “Royalty and Reform: The Predicament of Renée de France, 1510–1575.” PhD, Tufts, 1969.Google Scholar
Boccali, P. Giovanni, ed. Cum hymnis et canticis. Gaudeat Mater Ecclesia in festo sancte Clare virginis Assisiensis. Asissi: Edizioni Porziuncola, 2011.Google Scholar
Bologna, Civico Museo Bibliografico Musicale, MS Q19: (“The Rusconi Codex”), introduction by Jessie Ann Owens. Renaissance Music in Facsimile 1. New York and London: Garland, 1998.Google Scholar
Bonini, Severo. Severo Bonini’s Discorsi e regole. Edited and translated by Bonino, Maryann. Provo, UT: Brigham Young University, 1979.Google Scholar
Bonino, Gioanni-Giacomo. Biografia medica piemontese. Turin: Bianco, 1824.Google Scholar
Bosi, Kathryn. “Leone Tolosa and Martel d’amore a balletto della duchessa discovered.” Recercare 17 (2005): 570.Google Scholar
Bosi, Kathryn. “More Documentation for the balletti della duchessa.” Recercare 20, no. 1/2 (2008): 219–31.Google Scholar
Bottegari, Cosimo. Il libro di canto e liuto. Edited by Fabris, Dinko and Griffiths, John. Bologna: Arnaldo Forni Editore, 2006.Google Scholar
Bottrigari, Ercole. Il Desiderio: Or, Concerning the Playing Together of Various Musical Instruments (1594). Translated by Carol MacClintock. Musicological Studies and Documents 9. Rome: American Institute of Musicology, 1962.Google Scholar
Bowers, Jane. “The Emergence of Women Composers in Italy, 1566–1700.” In Women Making Music: The Western Art Tradition, edited by Bowers, Jane and Tick, Judith, 116–67. Urbana: University of Illinois Press, 1986.Google Scholar
Bradford, Sarah. Lucrezia Borgia: Life, Love and Death in Renaissance Italy. London: Penguin, 2004.Google Scholar
Brantôme, Pierre de Bourdeille. Oeuvres complètes de Pierre de Bourdeille, seigneur de Brantôme. Edited by Lalanne, Ludovic. Vol. 8. 11 vols. Paris: Renouard, 1875.Google Scholar
Brisighella, Carlo. Descrizione delle pitture e sculture della città di Ferrara … (secolo XVIII). Edited by Novelli, Maria Angela. Ferrara: Spazio Libri, 1991.Google Scholar
Brooks, Jeanice. Courtly Song in Late Sixteenth-Century France. Chicago and London: University of Chicago Press, 2001.Google Scholar
Brown, Howard Mayer. “Bossinensis, Willaert and Verdelot: Pitch and the Conventions of Transcribing Music for Lute and Voice in Italy in the Early Sixteenth Century.” Revue de Musicologie 75, no. 1 (1989): 2546.Google Scholar
Brown, Howard Mayer. “The ‘Chanson Spirituelle,’ Jacques Buus, and Parody Technique.” Journal of the American Musicological Society 15, no. 2 (1962): 145–73.Google Scholar
Brown, Howard Mayer. “A Cook’s Tour of Ferrara in 1529.” Rivista italiana di musicologia 10 (1975): 216–41.Google Scholar
Brown, Howard Mayer. “The Geography of Florentine Monody: Caccini at Home and Abroad.” Early Music 9, no. 2 (1981): 147–68.Google Scholar
Brown, Howard Mayer. “Psyche’s Lament: Some Music for the Medici Wedding in 1565.” In Words and Music: The Scholar’s View, edited by Berman, Laurence, 127. Cambridge, MA: Harvard University Press, 1972.Google Scholar
Brown, Howard Mayer. “Women Singers and Women’s Songs in Fifteenth-Century Italy.” In Women Making Music: The Western Art Tradition, edited by Bowers, Jane and Tick, Judith, 6289. Urbana: University of Illinois Press, 1986.Google Scholar
Brundin, Abigail. Vittoria Colonna and the Spiritual Poetics of The Italian Reformation. Aldershot: Ashgate Publishing, 2008.Google Scholar
Bujanda, Jesús Martínez de. Index de Rome 1590, 1593, 1596. Index des livres interdits 9. Sherbrooke: Centre d’Études de la Renaissance, Editions de l’Université de Sherbrooke, 1994.Google Scholar
Burney, Charles. A General History of Music: From the Earliest Ages to the Present Period. 2nd edn. London: Payne, for the Author, 1789.Google Scholar
Butchart, David. “‘La Pecorina’ at Mantua, Musica Nova at Florence.” Early Music 13, no. 3 (1985): 359–66.Google Scholar
Campbell, Julie. Literary Circles and Gender in Early Modern Europe: A Cross-Cultural Approach. Aldershot: Ashgate Publishing, 2013.Google Scholar
Campori, Giuseppe, and Solerti, Angelo. Luigi, Lucrezia e Leonora d’Este. Turin: Loescher, 1888.Google Scholar
Caponetto, Salvatore. La Riforma protestante nell’Italia del Cinquecento. Turin: Claudiana, 1992.Google Scholar
Carpinello, Mariella. Lucrezia d’Este: duchessa di Urbino. Milan: Rusconi Libri, 1988.Google Scholar
Carruthers-Clement, Carol Ann. “The Madrigals and Motets of Vittoria/Raphaella Aleotti.” PhD. Kent State University, 1982.Google Scholar
Carter, Tim. “‘An Air New and Grateful to the Ear’: The Concept of ‘Aria’ in Late Renaissance and Early Baroque Italy.” Music Analysis 12, no. 2 (1993): 127–45.Google Scholar
Carter, Tim. “Caccini’s ‘Amarilli, mia bella:’ Some Questions (And a Few Answers).” Journal of the Royal Musical Association 113, no. 2 (1988): 250–73.Google Scholar
Carter, Tim. “‘E in rileggendo poi le proprie note’: Monteverdi responds to Artusi?Renaissance Studies 26, no. 1 (2012): 138–55.Google Scholar
Carter, Tim. “A Florentine Wedding of 1608.” Acta Musicologica 55 (1983): 89107.Google Scholar
Carter, Tim. “Lamenting Ariadne?Early Music 27, no. 3 (1999): 395406.Google Scholar
Carter, Tim. “Printing the ‘New Music.’” In Music and the Cultures of Print, edited by Van Orden, Kate, 337. Critical and Cultural Musicology 1. New York: Garland, 2000.Google Scholar
Castiglione, Baldesar. The Book of the Courtier. Translated by George Bull. 2nd edn. London: Penguin Classics, 1976.Google Scholar
Cavalieri, Emilio de’. The Lamentations and Responsories of 1599 and 1600. Edited by Bradshaw, Murray C.. Vol. 3. Early Sacred Monody. American Institute of Musicology, 1990.Google Scholar
Cavallo, Jo Ann. The Romance Epics of Boiardo, Ariosto, and Tasso: From Public Duty to Private Pleasure. Toronto and London: University of Toronto Press, 2004.Google Scholar
Cavicchi, Camilla. “Maistre Jhan alla corte degli Este (1512–1538).” PhD, Università di Bologna, 2006.Google Scholar
Cavicchi, Camilla. “Osservazioni in margine sulla musica per l’immacolato concepimento della Vergina, al tempo di Sisto IV.” L’Atelier du Centre de recherches historiques. Revue électronique du CRH, no. 10 (2012), https://journals.openedition.org/acrh/4386.Google Scholar
Cesari, Paolo. “Dizionario degli artisti del legno attivi in Italia,” 2006, www.paolocesari.com/dizioartistilegno.html.Google Scholar
Chaudon, Louis Mayeul. Dictionnaire universel, historique, critique, et bibliographique. Vol. 19. Paris: Mame frères, 1812.Google Scholar
Cittadella, Luigi Napoleone. I Guarini, famiglia nobile ferrarese oriunda di Verona: memorie. Bologna: G. Romagnoli, 1870.Google Scholar
Coelho, Victor. “The Players of Florentine Monody in Context and in History, and a Newly Recognized Source for Le nuove musiche.” Journal of Seventeenth-Century Music 9, no. 1 (2003), www.sscm-jscm.org/v9/no1/coelho.html.Google Scholar
Coester, Christiane. Schön wie Venus, mutig wie Mars. Munich: Oldenbourg Verlag, 2007.Google Scholar
Crawford, Katherine. European Sexualities, 1400–1800. New York and Cambridge: Cambridge University Press, 2007.Google Scholar
Cusick, Suzanne G. Francesca Caccini at the Medici Court: Music and the Circulation of Power. Chicago: University of Chicago Press, 2009.CrossRefGoogle Scholar
Cusick, Suzanne G.Gendering Modern Music: Thoughts on the Monteverdi–Artusi Controversy.” Journal of the American Musicological Society 46, no. 1 (1993): 125.Google Scholar
Cusick, Suzanne G.[Reply to Charles S. Brauner].” Journal of the American Musicological Society 47, no. 3 (1994): 554–63.CrossRefGoogle Scholar
D’Accone, Frank. “Corteccia’s Motets for the Medici Marriages of 1558.” In Words on Music: Essays in Honor of Andrew Porter on the Occasion of His 75th Birthday, edited by Porter, Andrew, Rosen, David, and Brook, Claire, 3673. Hillsdale, NY: Pendragon Press, 2003.Google Scholar
Dalla Viola, Alfonso. Primo libro di madrigali (Ferrara, 1539). Edited by Owens, Jessie Ann. The Sixteenth-Century Madrigal 5. New York and London: Garland, 1990.Google Scholar
Dalla [Della] Viola, Francesco. Il primo libro de madrigali a quatro voci: (Venice, 1550). Edited by Owens, Jessie Ann. The Sixteenth-Century Madrigal 7. New York and London: Garland, 1988.Google Scholar
D’Ancona, Alessandro. “Il teatro mantovano nel sec. XVI.” Giornale storico della letteratura italiana, no. 6 (1885): 152, 313–51.Google Scholar
D’Ancona, Alessandro. Origini del teatro italiano. 2nd edn. Vol. 2. 3 vols. Turin: Loescher, 1891.Google Scholar
Davis, Natalie Zemon. Fiction in the Archives: Pardon Tales and Their Tellers in Sixteenth-Century France. Stanford, CA: Stanford University Press, 1987.Google Scholar
Davolio, Vincenzo. Memorie istoriche di Novellara e de’ suoi principi. Vol. 1. Novellara: n.p., 1825.Google Scholar
De Rore, Cipriano. Opera omnia: Madrigalia 3–8 vocum. Edited by Meier, Bernhard. Vol. 4. American Institute of Musicology, 1969.Google Scholar
De Rore, Cipriano. Opera omnia: Motets for 5 voices. Edited by Meier, Bernhard. Vol. 1. American Institute of Musicology, 1959.Google Scholar
De Rore, Cipriano. Opera omnia: Psalmi, Cantica B.M.V., Cantiones Gallicae, etc. Edited by Meier, Bernhard. Vol. 8. American Institute of Musicology, 1977.Google Scholar
De Wert, Giaches. Opera omnia: Il primo libro de madrigali a quattro voci (1561). Edited by MacClintock, Carol and Bernstein, Melvin. Vol. 15. Corpus Mensurabilis Musicae 24. American Institute of Musicology, 1972.Google Scholar
De Wert, Giaches. Opera omnia: Madrigali a cinque voci, libro primo (1558). Edited by MacClintock, Carol and Bernstein, Melvin. Vol. 1. Corpus Mensurabilis Musicae 24. American Institute of Musicology, 1961.Google Scholar
Dunn, Kevin. Pretexts of Authority: The Rhetoric of Authorship in the Renaissance Preface. Stanford, CA: Stanford University Press, 1994.Google Scholar
Durante, Elio, and Martellotti., Anna Cronistoria del concerto delle dame principalissime di Margherita Gonzaga d’Este. 2nd edn. Florence: Studio per Edizioni Scelte, 1989.Google Scholar
Durante, Elio, and Martellotti., Anna «Giovinetta peregrina». La vera storia di Laura Peperara e Torquato Tasso. Florence: Olschki, 2010.Google Scholar
Durante, Elio, and Martellotti., AnnaIl cavalier Guarini e il Concerto delle Dame.” In Guarini, la musica, i musicisti, edited by Pompilio, Angelo, 3: 91132. Con Notazioni. Lucca: Libreria Musicale Italiana Editrice, 1997.Google Scholar
Durante, Elio, and Martellotti., Anna Madrigali segreti per le dame di Ferrara: Il manoscritto musicale F.1358 della Biblioteca Estense di Modena. 2 vols. Florence: Studio per Edizioni Scelte, 2000.Google Scholar
Durante, Elio, and Martellotti., AnnaTasso, Luzzaschi e il Principe di Venosa.” In Tasso, la musica, i musicisti, edited by Balsano, Maria and Walker, Thomas, 19:1744. Quaderni della Rivista italiana di musicologia. Florence: Olschki, 1988.Google Scholar
Einstein, Alfred. The Italian Madrigal. Princeton, NJ: Princeton University Press, 1949.Google Scholar
Eisenbichler, Konrad. The Sword and the Pen: Women, Politics, and Poetry in Sixteenth-Century Siena. Notre Dame, IN: University of Notre Dame Press, 2012.Google Scholar
Fabbri, Paolo. Monteverdi. Cambridge: Cambridge University Press, 1994.Google Scholar
Fabris, Dinko. Mecenati e musici: documenti sul patronato artistico dei Bentivoglio di Ferrara nell’epoca di Monteverdi (1585–1645). Lucca: Libreria musicale italiana, 1999.Google Scholar
Feldman, Martha. “Authors and Anonyms: Recovering the Anonymous Subject in Cinquecento Vernacular Objects.” In Music and the Cultures of Print, edited by Van Orden, Kate, 166–99. New York: Garland, 2000.Google Scholar
Feldman, Martha. City Culture and the Madrigal at Venice. Berkeley: University of California Press, 1995.CrossRefGoogle Scholar
Feldman, Martha. “The Courtesan’s Voice: Petrarchan Lovers, Pop Philosophy, and Oral Traditions.” In The Courtesan’s Arts: Cross-Cultural Perspectives, edited by Gordon, Bonnie and Feldman, Martha, 105–23. Oxford and New York: Oxford University Press, 2006.Google Scholar
Fenlon, Iain. “Giaches de Wert at Novellara.” Early Music 27, no. 1 (1999): 2541.Google Scholar
Fenlon, Iain. Giaches de Wert: Letters and Documents. Paris: Éditions Klincksieck, 1999.Google Scholar
Fenlon, Iain. “Music and Learning in Isabella d’Este’s Studioli.” In The Court of the Gonzaga in the Age of Mantegna: 1450–1550, 353–68. Rome: Bulzoni, 1997.Google Scholar
Fenlon, Iain. Music and Patronage in Sixteenth-Century Mantua. 2 vols. Cambridge: Cambridge University Press, 1980.Google Scholar
Fenlon, Iain. “Renaissance Novellara: Musical Life in the Gonzaga Hinterland.” Music and Letters 91, no. 4 (2010): 484–97.Google Scholar
Fenlon, Iain, and Haar, James. The Italian Madrigal in the Early Sixteenth Century: Sources and Interpretation. Cambridge: Cambridge University Press, 1988.Google Scholar
Ferrone, Siro, Zorzi, Ludovico, and Innamorati, Giuliano. “Attori: professionisti e dilettanti.” In Il teatro del Cinquecento: I luoghi, i testi e gli attori, edited by Siro Ferrone, 81106. Perugia: Morlacchi Editore, 2008.Google Scholar
Fiesco, Giulio. Il primo libro de madrigali a quatro voci (Venice, 1554). Edited by Owens, Jessie Ann. Sixteenth Century Madrigal 12. New York: Garland, 1996.Google Scholar
Folin, Marco. “Sul ‘buon uso della religione’ in alcune lettere di Ercole d’Este e Felino Sandei: finte stigmate, monache e ossa di morti.” Archivio Italiano per la storia della Pietà 11 (1998): 181244.Google Scholar
Franceschini, Chiara. “‘Literarum studia nobis communia’: Olimpia Morata e la corte di Renata di Francia.” Schifanoia 28/29 (2005): 207–32.Google Scholar
Franceschini, Chiara. “Tra Ferrara e la Francia: notizie su orefici e pittori al servizio di Renée de France.” Franco-Italica 19–20 (2001): 65104.Google Scholar
Franklin, Harriet Apperson. “Musical Activity in Ferrara, 1598 to 1618.” PhD, Brown University, 1976.Google Scholar
Frassoni, Ferruccio Pasini. Dizionario storico-araldico dell’antico Ducato di Ferrara. Rome: Arnaldo Forni, 1914.Google Scholar
Frizzi, Antonio. Memorie per la storia di Ferrara raccolte da Antonio Frizzi con giunte e note del Conte Avv. Camillo Laderchi. Edited by Laderchi, Camillo. 2nd edn. 5 vols. Ferrara: Abram Servadio, 1848.Google Scholar
Frazier, Alison K.Liturgical Humanism: Saints’ Offices from the Italian Peninsula in the Fifteenth Century.” In The Cambridge History of Fifteenth-Century Music, edited by Berger, Anna Maria Busse and Rodin, Jesse, 311–30. The Cambridge History of Music. Cambridge: Cambridge University Press, 2015.Google Scholar
Fromson, Michele. “Themes of Exile in Willaert’s Musica nova.” Journal of the American Musicological Society 47, no. 3 (1994): 442–87.Google Scholar
Galand-Hallyn, Perrine. “Des ‘vers échoïques’ ou comment rendre une âme à Écho.” Nouvelle revue du XVIe siècle 15, no. 12 (1997): 253–76.Google Scholar
Ganassi, Silvestro. Opera intitulata Fontegara (Venice, 1535). Edited and translated by Hildemarie Peter. Berlin: R. Leinau, 1956.Google Scholar
Gerbino, Giuseppe. Music and the Myth of Arcadia in Renaissance Italy. Cambridge and New York: Cambridge University Press, 2009.Google Scholar
Ghirardo, Diane Y.Lucrezia Borgia’s Palace in Renaissance Ferrara.” The Journal of the Society of Architectural Historians 64, no. 4 (2005): 474–97.Google Scholar
Ghirardo, Diane Y.The Topography of Prostitution in Renaissance Ferrara.” Journal of the Society of Architectural Historians 60, no. 4 (2001): 402–31.Google Scholar
Giraldi Cinzio, Giambattista. De’ romanzi, delle comedie e delle tragedie: ragionamenti. Edited by Camerini, Eugenio. Milan: G. Daelli, 1864.Google Scholar
Giraldi Cinzio, Giambattista. Selene: an Italian Renaissance tragedy. Edited by Horne, Phillip. Lewiston, NY: Edwin Mellen Press, 1996.Google Scholar
Giraldi, Lilio Gregorio. Modern Poets. Edited by Grant, John N.. Cambridge, MA: Harvard University Press, 2011.Google Scholar
Giustiniani, Vincenzo. Discorsi sulle arti e sui mestieri. Edited by Banti, Anna. Florence: Sansoni, 1981.Google Scholar
Giustiniani, Vincenzo. Discorso sopra la musica (1628). Edited and translated by Carol MacClintock. Musicological Studies and Documents 9. American Institute of Musicology, 1962.Google Scholar
Gladen, Cynthia. “A Painter, a Duchess, and the Monastero di Sant’Orsola: Case Studies of Women’s Monastic Lives in Mantua, 1599–1651.” PhD, University of Minnesota, 2003.Google Scholar
Gordon, Bonnie. “The Courtesan’s Singing Body as Cultural Capital in Seventeenth-Century Italy.” In The Courtesan’s Arts: Cross-Cultural Perspectives, edited by Feldman, Martha and Gordon, Bonnie, 182–98. Oxford and New York: Oxford University Press, 2006.Google Scholar
Gordon, Bonnie. Monteverdi’s Unruly Women: The Power of Song in Early Modern Italy. Cambridge: Cambridge University Press, 2004.Google Scholar
Grafton, Anthony, and Jardine, Lisa. From Humanism to the Humanities: Education and the Liberal Arts in Fifteenth- and Sixteenth-Century Europe. Cambridge, MA: Harvard University Press, 1986.Google Scholar
Grandi, Alessandro. Opera omnia. Edited by Collins, Dennis and Saunders, Steven. Vol. 1. Münster: American Institute of Musicology, 2011.Google Scholar
Grazioli, Cristina. “I diari di Ferdinando di Baveria.” In I Gonzaga e l’Impero: itinerari dello spettacolo: con una selezione di materiali dell’Archivio informatico Herla (1560–1630), edited by Artioli, Umberto and Grazioli, Cristina, 293320. Florence: Le Lettere, 2005.Google Scholar
Griffiths, John, and Fabris, Dinko, eds. Neapolitan Lute Music. Madison, WI: A-R Editions, Inc., 2004.Google Scholar
Guasco, Annibale. Discourse to Lady Lavinia His Daughter. Edited and translated by Peggy Osborn. Chicago: University of Chicago Press, 2007.Google Scholar
Guerzoni, Guido. “Este Courtiers 1457–1628.” Database. 2006, www.academia.edu/2925252/Este_Courtiers_1457-1628.Google Scholar
Guerzoni, Guido. Le corti estensi e la devoluzione di Ferrara del 1598. Modena: Archivio storico, Comune di Modena, Assessorato alla cultura e beni culturali (Modena), 2000.Google Scholar
Guerzoni, Guido. “Strangers at Home. The Courts of Este Princesses between XVth and XVIIth Centuries.” In Moving Elites: Women and Cultural Transfers in the European Court System. Proceedings of an International Workshop (Florence, 12–13 December 2008), edited by Calvi, Giulia and Chabot, Isabelle, 141–56. Badia Fiesolana: European University Institute, 2010.Google Scholar
Guidoboni, Emanuela. “Riti di calamità: terremoti a Ferrara nel 1570–74.” Quaderni storici 19, no. 55 (1984): 107–35.Google Scholar
Gundersheimer, Werner L. Ferrara: The Style of a Renaissance Despotism. Princeton, NJ: Princeton University Press, 1973.Google Scholar
Haar, James. “Arie per cantar stanze ariostesche.” In L’Ariosto, la musica, i musicisti: Quattro studi e sette madrigali ariosteschi, edited by Balsano, Maria Antonella, 3146. Florence: Olschki, 1981.Google Scholar
Haar, James. “Arioso and Canzonetta: Rhythm as a Stylistic Determinant in the Madrigals of Giaches de Wert.” Giaches deWert (1535–1596) and His Time. Yearbook of the Alamire Foundation 3 (1999): 89120.Google Scholar
Haar, James. “The Capriccio of Giachet Berchem: A Study in Modal Organization.” Musica disciplina 52 (1988): 129–56.Google Scholar
Haar, James. “The Courtier as Musician: Castiglione’s View of the Science and Art of Music.” In The Science and Art of Renaissance Music, 2037. Princeton, NJ: Princeton University Press, 1998.Google Scholar
Haar, James. “Improvvisatori and Their Relationship to Sixteenth-Century Music.” In Essays on Italian Poetry and Music in the Renaissance, 1350–1600, 7699. Berkeley and Los Angeles: University of California Press, 1986.Google Scholar
Haar, James. “The ‘Madrigale Arioso’: A Mid-Century Development in the Cinquecento Madrigal.” In The Science and Art of Renaissance Music, 222–38. Princeton, NJ: Princeton University Press, 1998.Google Scholar
Haar, James. “‘Pace non trovo’: A Study in Literary and Musical Parody.” Musica Disciplina 20 (1966): 95149.Google Scholar
Haar, James. “Rore’s Settings of Ariosto.” In Essays in Musicology: A Tribute to Alvin Johnson, edited by Lockwood, Lewis and Roesner, Edward, 101–25. American Musicological Society, 1990.Google Scholar
Haar, James, and Balsano, Maria. “L’Ariosto in musica.” In L’Ariosto, la musica, i musicisti: Quattro studi e sette madrigali ariosteschi, edited by Balsano, Maria Antonella, 4788. Florence: Olschki, 1981.Google Scholar
Harness, Kelley. Echoes of Women’s Voices: Music, Art, and Female Patronage in Early Modern Florence. Chicago: University of Chicago Press, 2006.Google Scholar
Harrán, Don. “Verse Types in the Early Madrigal.” Journal of the American Musicological Society 22, no. 1 (1969): 2753.Google Scholar
Haynes, Bruce. The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century. Oxford: Oxford University Press, 2007.Google Scholar
Henke, Robert. Performance and Literature in the Commedia dell’Arte. Cambridge: Cambridge University Press, 2002.Google Scholar
Herzig, Tamar. Savonarola’s Women: Visions and Reform in Renaissance Italy. Chicago: University of Chicago Press, 2008.Google Scholar
Hill, John Walter. “Oratory Music in Florence, I: Recitar Cantando, 1583–1655.” Acta Musicologica 51, no. 1 (1979): 108–36.Google Scholar
Hill, John Walter. Roman Monody, Cantata, and Opera from the Circles Around Cardinal Montalto. Oxford: Oxford University Press, 1997.Google Scholar
Hollingsworth, Mary. The Cardinal’s Hat: Money, Ambition and Housekeeping in a Renaissance Court. London: Profile, 2005.Google Scholar
Horne, P. R.Reformation and Counter-Reformation at Ferrara: Antonio Musa Brasavola and Giambattista Cinthio Giraldi.” Italian Studies 13, no. 1 (1958): 6282.Google Scholar
Horne, P. R. The Tragedies of Giambattista Cinthio Giraldi. Oxford: Oxford University Press, 1962.Google Scholar
Horsley, Imogene. “Full and Short Scores in the Accompaniment of Italian Church Music in the Early Baroque.” Journal of the American Musicological Society 30, no. 3 (1977): 466–99.Google Scholar
Jardine, Lisa. “‘O Decus Italiae Virgo’, or the Myth of the Learned Lady in the Renaissance.” The Historical Journal 28, no. 4 (1985): 799819.Google Scholar
Javitch, Daniel. Proclaiming a Classic: The Canonization of Orlando Furioso. Princeton, NJ: Princeton University Press, 1991.Google Scholar
Josephson, David. “‘Why Then All the Difficulties!’: A Life of Kathi Meyer-Baer.” Notes 65, no. 2 (2008): 227–67.Google Scholar
Kelly-Gadol, Joan. “Did Women Have a Renaissance?” In Becoming Visible: Women in European History, edited by Bridenthal, Renate and Koonz, Claudia, 3rd edn., 137–64. Boston, MA: Houghton Mifflin, 1998.Google Scholar
Kendrick, Robert L. Celestial Sirens: Nuns and Their Music in Early Modern Milan. Oxford: Clarendon Press, 1996.Google Scholar
Kuehn, Thomas. Law, Family, and Women: Toward a Legal Anthropology of Renaissance Italy. Chicago: University of Chicago Press, 1994.Google Scholar
Kuntz, Marion Leathers. The Anointment of Dionisio: Prophecy and Politics in Renaissance Italy. University Park: Pennsylvania State University Press, 2001.Google Scholar
La Monica, Alessandro. “Indici e controindici: la polemica di Pier Paolo Vergerio contro la censura ecclesiastica.” Quaderni d’italianistica 29, no. 2 (2008): 1728.Google Scholar
La Via, Stefano. Cipriano de Rore as Reader and as Read: A Literary-Musical Study of Madrigals from Rore’s Later Collections (1557–1566). Ann Arbor, MI: UMI Research Press, 1991.Google Scholar
La Via, Stefano. “Eros and Thanatos: A Ficinian and Laurentian Reading of Verdelot’s Sì lieta e grata morte.” Early Music History 21 (2002): 75116.Google Scholar
Labuda, Gerard, Biskup, Marian, and Michowicz, Waldemar. The History of Polish Diplomacy X–XX C. Warsaw: Sejm Publishing Office, 2005.Google Scholar
Lazzari, Alfonso. Le ultime tre duchesse di Ferrara. Florence: Ufficio della Rassegna Nazionale, 1913.Google Scholar
Lazzari, Alfonso. “Torquato Tasso e la ferrarese Lucrezia Bendedei.” Atti e memorie della deputazione provinciale ferrarese di storia patria, nuova serie 12 (1954): 532.Google Scholar
Le Guin, Ursula K. Tales from Earthsea. London: Orion, 2002.Google Scholar
Leclercq, Jean. L’Amour des lettres et le désir de Dieu [The Love of Learning and the Desire for God]. Translated by Catherine Misrahi. 3rd edn. New York: Fordham University Press, 1982.Google Scholar
Lerner, Gerda. “Placing Women in History: A 1975 Perspective.” Feminist Studies 1–2 (1975): 515.Google Scholar
Lewis, Mary S.Antonio Gardane’s Early Connections with the Willaert Circle.” In Music in Medieval and Early Modern Europe: Patronage, Sources, and Texts, edited by Fenlon, Iain, 209–26. Cambridge: Cambridge University Press, 1981.Google Scholar
Lewis, Mary S. Antonio Gardano, Venetian Music Printer, 1538–1569. Vol. 1. New York and London: Garland, 1988.Google Scholar
Lewis, Mary S.Twins, Cousins, and Heirs: Relationships among Editions of Music Printed in Sixteenth-Century Venice.” In Critica Musica: Essays in Honour of Paul Brainard, 2nd edn., 193224. Abingdon: Routledge, 2016.Google Scholar
Liboni, Gionata. “Medicina e religione in una lettera di Antonio Musa Brasavola ad Eleonora d’Este.” Schifanoia 40–41 (2011): 119–26.Google Scholar
Liechtenstein, the Princely Collections. New York: Metropolitan Museum of Art, 1985.Google Scholar
Lockwood, Lewis. “Adrian Willaert and Cardinal Ippolito I d’Este: New Light on Willaert’s Early Career in Italy, 1515–21.” Early Music History 5 (1985): 85112.Google Scholar
Lockwood, Lewis. Music in Renaissance Ferrara 1400–1505. New York: Oxford University Press, 2009.Google Scholar
Loewen, Peter. Music in Early Franciscan Thought. Leiden and Boston, MA: Brill, 2013.Google Scholar
Lombardi, Teodosio. Gli Estensi ed il monastero del Corpus Domini di Ferrara. Ferrara: Centro culturale città di Ferrara, 1980.Google Scholar
Lombardi, Teodosio. I francescani a Ferrara. 5 vols. Bologna: Ed. Dehoniane, 1974.Google Scholar
López-Ríos, Santiago. “A New Inventory of the Royal Aragonese Library of Naples.” Journal of the Warburg and Courtauld Institutes 65 (2002): 201–43.Google Scholar
Lorenzetti, Stefano. Musica e identità nobiliare nell’Italia del rinascimento. Florence: Olschki, 2003.Google Scholar
Lowe, K. J. P. Nuns’ Chronicles and Convent Culture in Renaissance and Counter-Reformation Italy. Cambridge: Cambridge University Press, 2003.Google Scholar
Lowinsky, Edward E.Cipriano de Rore’s Venus Motet: Its Poetic and Pictorial Sources.” In Music in the Culture of the Renaissance and Other Essays, edited by Blackburn, Bonnie J., 2:575–94. Chicago and London: Chicago University Press, 1989.Google Scholar
Lowinsky, Edward E.A Newly Discovered Sixteenth-Century Motet Manuscript at the Biblioteca Vallicelliana in Rome.” Journal of the American Musicological Society 3, no. 3 (1950): 173232.Google Scholar
Lowinsky, Edward E.Two Motets and Two Madrigals for the Este Family.” In Music in the Culture of the Renaissance and Other Essays, edited by Blackburn, Bonnie J., 2:627–35. Chicago and London: Chicago University Press, 1989.Google Scholar
Lucas, Corinne. “Le personnage de la reine dans le théâtre de Giraldi Cinzio.” In The Court of Ferrara and its Patronage / La corte di Ferrara e il suo mecenatismo 1441–1598, edited by Pade, Marianne, Petersen, Lene Waage, and Quarta, Daniela, 283300. Copenhagen: Museum Tusculanum Press, 1990.Google Scholar
Luzio, Alessandro. “Un’avventura di Tullia d’Aragona.” Rivista storica mantovana 1 (1885): 179–82.Google Scholar
Luzio, Alessandro. “Vittoria Colonna.” Rivista storica mantovana 1 (1885): 152.Google Scholar
Luzzaschi, Luzzasco. Il primo libro de’ madrigali a cinque voci (Ferrara, 1571), Secondo libro de madrigali a cinque voci (Venice 1576). Edited by Newcomb, Anthony. Complete Unaccompanied Madrigals 4. Middleton, WI: A-R Editions, Inc., 2010.Google Scholar
Luzzaschi, Luzzasco. Il quarto libro de’ madrigali a cinque voci (Ferrara, 1594) and Madrigals Published Only in Anthologies, 1583–1604. Edited by Newcomb, Anthony. Complete Unaccompanied Madrigals 2. Madison: A-R Editions, Inc., 2004.Google Scholar
Luzzaschi, Luzzasco. Madrigali: per cantare e sonare a 1, 2 e 3 soprani (1601). Edited by Cavicchi, Adriano. Brescia: L’Organo, 1965.Google Scholar
Luzzaschi, Luzzasco. Quinto libro de’ madrigali a cinque voci (Ferrara, 1595), Sesto libro de’ madrigali a cinque voci (Ferrara, 1596), Settimo libro de madrigali a cinque voci (Venice, 1604). Edited by Newcomb, Anthony. Complete Unaccompanied Madrigals 1. Madison, WI: A-R Editions, Inc., 2003.Google Scholar
MacCarthy, Ita. Women and the Making of Poetry in Ariosto’s Orlando Furioso. Leicester: Troubador Publishing Ltd, 2007.Google Scholar
MacClintock, Carol. Giaches de Wert: 1535–1596, Life and Works. American Institute of Musicology, 1966.Google Scholar
Macey, Patrick. Bonfire Songs: Savonarola’s Musical Legacy. Oxford Monographs on Music. Oxford: Clarendon Press, 1998.Google Scholar
Maclean, Ian. The Renaissance Notion of Woman: A Study in the Fortunes of Scholasticism and Medical Science in European Intellectual Life. Cambridge: Cambridge University Press, 1983.Google Scholar
MacNeil, Anne. Music and Women of the Commedia dell’Arte in the Late Sixteenth Century. Oxford: Oxford University Press, 2003.Google Scholar
MacNeil, Anne. “Weeping at the Water’s Edge.” Early Music 27, no. 3 (1999): 407–17.Google Scholar
McCall, Timothy. “Traffic in Mistresses: Sexualized Bodies and Systems of Exchange in the Early Modern Court.” In Sex Acts in Early Modern Italy: Practice, Performance, Perversion, Punishment, edited by Levy, Allison Mary, 125–36. Farnham: Ashgate, 2010.Google Scholar
McGee, Timothy. “How One Learned to Ornament in Late Sixteenth-Century Italy.” Performance Practice Review 13, no. 1 (2008). http://scholarship.claremont.edu/ppr/vol13/iss1/6.Google Scholar
McHam, Sarah Blake. “Donatello’s Judith as the Emblem of God’s Chosen People.” In The Sword of Judith: Judith Studies Across the Disciplines, edited by Brine, Kevin R., Ciletti, Elena, and Lähnemann, Henrike, 307–24. Cambridge: Open Book Publishers, 2010.Google Scholar
McKinney, Timothy R.A Rule Made to Be Broken: On Zarlino, Vicentino, Willaert and Parallel Congruent Imperfect Consonances.” Early Music 42, no. 2 (2014): 175–89.Google Scholar
McKinney, Timothy R. Adrian Willaert and the Theory of Interval Affect: The Musica Nova Madrigals and the Novel Theories of Zarlino and Vicentino. Farnham: Ashgate, 2010.Google Scholar
McLaughlin, Mary Martin. “Creating and Recreating Communities of Women: The Case of Corpus Domini, Ferrara, 1406–1452.” Signs 14, no. 2 (1989): 293320.Google Scholar
Mangani, Marco, and Rossi, Michaela Zackova. “Ballata Form in the Early Madrigal.” In Music Theory and Analysis, 1450–1650: Proceedings of the International Conference, Louvain-La-Neuve, 23–25 September 1999, edited by Ceulemans, Anne-Emmanuelle and Blackburn, Bonnie J., 149–93. Louvain-la Neuve: Départment d’histoire de l’art et d’archéologie, Collège Érasme, 2001.Google Scholar
Marcigliano, Alessandro. Chivalric Festivals at the Ferrarese Court of Alfonso II d’Este. Oxford: Peter Lang, 2003.Google Scholar
Marenzio, Luca. The Secular Works, VI, Il sesto libro de’ madrigali a sei voci (1595). Edited by Myers, Patricia. New York: Broude Bros., 1983.Google Scholar
Marshall, Melanie L.Imitating the Rustic and Revealing the Noble: Masculine Power and Music at the Court of Ferrara.” In Eroticism in Early Modern Music, edited by Blackburn, Bonnie J. and Stras, Laurie, 83114. Farnham: Ashgate, 2015.Google Scholar
Martini, Giuseppe. Claudio Merulo. Parma: Ordine costantiniano di San Giorgio, 2005.Google Scholar
Massa, Giovanni Maria di. Giovanni Maria di Massa: Memorie di Ferrara, 1582–1585. Edited by Provasi, Matteo. Ferrara: Deputazione provinciale ferrarese di storiapatria, 2004.Google Scholar
Meine, Sabine. “Musikalische Spuren konfessioneller Spannungen an den Höfen von Renée de Valois und Ercole II d’Este im Ferrara des 16. Jahrhunderts.” In Feste – Opern – Prozessionen. Musik als kulturelle Präsentation, edited by Hottmann, Katharina and Siegert, Christine, 2744. Jahrbuch Musik und Gender 1. Hildesheim: Georg Olms Verlag, 2008.Google Scholar
Mele, Donato. L’Accademia dello Spirito Santo: Un’istituzione musicale ferrarese del sec. XVII. Ferrara: Liberty House, 1990.Google Scholar
Mendogni, Pier Paolo. Correggio and St Paul’s Monastery. Parma: Proposte Editrice, 1996.Google Scholar
Menegatti, Maria Lucia. “Documenti per la storia dei camerini di Alfonso I (1471–1634): Regesto generale.” In Il camerino delle pitture di Alfonso I, edited by Ballarin, Alessandro, 3:3340. Padua: Bertoncello, 2002.Google Scholar
Meyer-Baer, Kathi. Der chorische Gesang der Frauen, mit besonderer Bezugnahme seiner Betätigung auf geistlichem Gebiet: 1. Teil: Bis zur Zeit um 1800. Hamburg: Breitkopf and Härtel, 1917.Google Scholar
Monson, Craig. “The Council of Trent Revisited.” Journal of the American Musicological Society 55, no. 1 (2002): 137.Google Scholar
Monson, Craig. Disembodied Voices: Music and Culture in an Early Modern Italian Convent. Berkeley and London: University of California Press, 1995.Google Scholar
Monson, Craig. “Elena Malvezzi’s Keyboard Manuscript: A New Sixteenth-Century Source.” Early Music History 9 (1990): 73128.Google Scholar
Monson, Craig. Nuns Behaving Badly: Tales of Music, Magic Art and Arson in the Convents of Italy. Chicago: University of Chicago Press, 2010.Google Scholar
Monson, Craig. ed. The Crannied Wall: Women, Religion, and the Arts in Early Modern Europe. Ann Arbor: University of Michigan Press, 1992.Google Scholar
Montford, Kimberlyn. “Music in the Convents of Counter-Reformation Rome.” PhD, Rutgers, 1999.Google Scholar
Morata, Olympia Fulvia. The Complete Writings of an Italian Heretic. Edited by Parker, Holt N.. Chicago: University of Chicago Press, 2003.Google Scholar
Newcomb, Anthony. “The Ballata and the ‘Free’ Madrigal in the Second Half of the Sixteenth Century.” Journal of the American Musicological Society 63, no. 3 (2010): 427–97.Google Scholar
Newcomb, Anthony. “Carlo Gesualdo and a Musical Correspondence of 1594.” The Musical Quarterly 54, no. 4 (1968): 409–36.Google Scholar
Newcomb, Anthony. “Courtesans, Muses, or Musicians? Professional Women Musicians in Sixteenth-Century Italy.” In Women Making Music: The Western Art Tradition, 90115. Urbana: University of Illinois Press, 1986.Google Scholar
Newcomb, Anthony. “Editions of Willaert’s Musica nova: New Evidence, New Speculations.” Journal of the American Musicological Society 26, no. 1 (1973): 132–45.Google Scholar
Newcomb, Anthony. “Luzzaschi’s setting of Dante: ‘Quivi sospiri, pianti, ed alti guai.’Early Music History 28 (2009): 97138.Google Scholar
Newcomb, Anthony. The Madrigal at Ferrara, 1579–1597. 2 vols. Princeton, NJ: Princeton University Press, 1981.Google Scholar
Newcomb, Anthony. “Posthumous Cipriano: Variation and Variety in Three Madrigals (1566–76).” In Cipriano de Rore: New Perspectives on His Life and Music, edited by Owens, Jessie Ann and Schiltz, Katelijne, 411–48. Turnhout: Brepols, 2017.Google Scholar
Newcomb, Anthony. “The Three Anthologies for Laura Peverara, 1580–1583.” Rivista italiana di musicologia 10 (1975): 329–45.Google Scholar
Newcomb, Anthony. “Wert: A Re-Evaluation of the Early Years in Particular.” Giaches de Wert (1535–1596) and His Time. Yearbook of the Alamire Foundation 3 (1999): 1326.Google Scholar
Nicholson, Eric. “Romance as Role Model: Early Female Performances of Orlando furioso and Gerusalemme liberata.” In Renaissance Transactions: Ariosto and Tasso, edited by Finucci, Valeria, 246–69. Durham, NC: Duke University Press, 1999.Google Scholar
Niwa, Seishirō. “Duke Ottavio Farnese’s Chapel in Parma, 1561–1586.” PhD, International Christian University, 2002.Google Scholar
Nosow, Robert. “The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19.” The Journal of Musicology 9, no. 1 (1991): 92108.Google Scholar
Nosow, Robert. “The Debate on Song in the Accademia Fiorentina.” Early Music History 21 (2002): 175221.Google Scholar
Nugent, George. “Anti-Protestant Music for Sixteenth-Century Ferrara.” Journal of the American Musicological Society 43, no. 2 (1990): 228–91.Google Scholar
Nuti, Giulia. The Performance of Italian Basso Continuo: Style in Keyboard Accompaniment in the Seventeenth and Eighteenth Centuries. Burlington, VT: Ashgate, 2007.Google Scholar
Osborn, Peggy. “‘Fuor di quel costume antico’: Innovation Versus Tradition in the Prologues of Giraldi Cinthio’s Tragedies.” Italian Studies 37, no. 1 (1982): 4966.Google Scholar
Owens, Jessie Ann. Composers at Work: The Craft of Musical Composition 1450–1600. New York: Oxford University Press, 1997.Google Scholar
Owens, Jessie Ann. “Music in the Early Ferrarese Pastoral: A Study of Beccari’s ‘Il Sacrificio’.” In Il Teatro italiano del Rinascimento, edited by de Panizza Lorch, Maristella, 583601. Milan: Edizioni di Comunità, 1980.Google Scholar
Owens, Jessie Ann. “The Milan Partbooks: Evidence of Cipriano de Rore’s Compositional Process.” Journal of the American Musicological Society 37, no. 2 (1984): 270–98.Google Scholar
Owens, Jessie Ann, and Agee, Richard J.. “La stampa della ‘Musica nova’ di Willaert.” Rivista italiana di musicologia 24, no. 2 (1989): 219305.Google Scholar
Owens, Jessie Ann, and Schiltz, Katelijne, eds. Cipriano de Rore: New Perspectives on His Life and Music. Turnhout: Brepols, 2017.Google Scholar
Padoan, Giorgio. La Veniexiana: con versione italiana a fronte. Venice: Marsilio, 1994.Google Scholar
Palisca, Claude V.Vincenzo Galilei and Some Links Between ‘Pseudo-Monody’ and Monody.” The Musical Quarterly 46, no. 3 (1960): 344–60.Google Scholar
Parisi, Susan H. “Ducal Patronage of Music in Mantua, 1587–1627: An Archival Study.” PhD, University of Illinois at Urbana-Champaign, 1989.Google Scholar
Patrizi, Francesco. L’amorosa filosofia. Edited by Nelson, John Charles. Florence: Felice Le Monnier, 1963.Google Scholar
Pattenden, Miles. Pius IV and the Fall of the Carafa: Nepotism and Papal Authority in Counter-Reformation Rome. Oxford: Oxford University Press, 2013.Google Scholar
Pender, Patricia. Early Modern Women’s Writing and the Rhetoric of Modesty. Basingstoke: Palgrave Macmillan, 2012.Google Scholar
Perkins, Leeman L., and Garey, Howard. The Mellon Chansonnier. 2 vols. New Haven, CT: Yale University Press, 1979.Google Scholar
Pesci, Marco. “Il cavaliere disvelato: Vincenzo Pinti, ‘nella corte di Roma detto il Cavaliere del liuto.’” Recercare 15 (2003): 119–47.Google Scholar
Petrarca, Francesco. Petrarch: The Canzoniere, or Rerum Vulgarium Fragmenta. Edited and translated by Mark Musa. Bloomington: Indiana University Press, 1996.Google Scholar
Peverada, Enrico. “Documenti per la storia organaria dei monasteri femminili ferrarese (sec. XVI–XVII).” L’Organo: Rivista di cultura organaria e organistica 30 (1996): 119–93.Google Scholar
Peverada, Enrico. “La visita apostolica di Mons. G.B. Maremonti e l’applicazione dei Decreti Tridentini in Diocesi di Ferrara (1574–1611).” PhD, Pontificia Università Lateranense, 1967.Google Scholar
Peverada, Enrico. “Organaria conventuale del Cinquecento ferrarese.” Analecta Pomposiana 33 (2008): 241–71.Google Scholar
Pigna, Giovanni Battista. Gli amori. Edited by Nolan, David and Bullock, Alan. Bologna: Commissione per i testi di lingua, 1991.Google Scholar
Pigna, Giovanni Battista. Il ben divino. Edited by Bonfacio, Neuro. Rome: Biblioteca Italiana, 2003, www.bibliotecaitaliana.it/indice/visualizza_testo_html/bibit001552.Google Scholar
Piperno, Franco. “Diplomacy and Musical Patronage: Virginia, Guidubaldo II, Massimiliano II, ‘Lo Streggino’ and Others.” Early Music History 18 (1999): 259–85.Google Scholar
Piperno, Franco. L’immagine del Duca. Florence: Olschki, 2001.Google Scholar
Pirrotta, Nino, and Povoledo, Elena. Music and Theatre from Poliziano to Monteverdi. Translated by Karen Eales. Cambridge: Cambridge University Press, 1982.Google Scholar
Pomata, Gianna, and Zarri, Gabriella. I monasteri femminili come centri di cultura fra Rinascimento e Barocco atti del convegno storico internazionale: Bologna, 8–10 dicembre 2000. Rome: Edizioni di storia e letturatura, 2005.Google Scholar
Prizer, William. Courtly Pastimes: The Frottole of Marchetto Cara. Ann Arbor, MI: UMI Research Press, 1980.Google Scholar
Prizer, William. “Games of Venus: Secular Vocal Music in the Late Quattrocento and Early Cinquecento.” Journal of Musicology 9, no. 1 (1991): 356.Google Scholar
Prizer, William. “Isabella d’Este and Lucrezia Borgia as Patrons of Music: The Frottola at Mantua and Ferrara.” Journal of the American Musicological Society 38, no. 1 (1985): 133.Google Scholar
Prizer, William. “Renaissance Women as Patrons of Music: The North-Italian Courts.” In Rediscovering the Muses: Women’s Musical Traditions, edited by Marshall, Kimberly, 186205. Boston, MA: Northeastern University Press, 1993.Google Scholar
Prizer, William. “Una ‘virtù molto conveniente a madonne’: Isabella d’Este as a Musician.” The Journal of Musicology 17, no. 1 (1999): 1049.Google Scholar
Raybould, Robin. An Introduction to the Symbolic Literature of the Renaissance. Oxford: Trafford Publishing, 2005.Google Scholar
Reardon, Colleen. Holy Concord within Sacred Walls: Nuns and Music in Siena, 1575–1700. Oxford: Oxford University Press, 2001.Google Scholar
Regan, Lisa K.Ariosto’s Threshold Patron: Isabella d’Este in the Orlando Furioso.” Modern Language Notes 120, no. 1 (2005): 5069.Google Scholar
Reynolds, Christopher A.Interpreting and Dating Josquin’s Missa Hercules Dux Ferrariae.” In Early Musical Borrowing, edited by Meconi, Honey, 91110. New York: Routledge, 2004.Google Scholar
Richardson, Brian. Printing, Writers and Readers in Renaissance Italy. Cambridge: Cambridge University Press, 1999.Google Scholar
Rifkin, Joshua. “Jean Michel, Maistre Jhan and a Chorus of Beasts. Old Light on Some Ferrarese Music Manuscripts.” Tijdschrift van de Koninklijke Vereniging Voor Nederlandse Muziekgeschiedenis 52, no. 1 (2002): 67102.Google Scholar
Riley, Joanne Marie. “Tarquinia Molza (1542–1617): A Case Study of Women, Music, and Society in the Renaissance.” In The Musical Woman: An International Perspective, 2:470–93. New York: Greenwood Press, 1986.Google Scholar
Robertson, Clare. “Il Gran Cardinale”: Alessandro Farnese, Patron of the Arts. New Haven and London: Yale University Press, 1992.Google Scholar
Rodocanachi, Emmanuel. Une protectrice de la Réforme en Italie et en France: Renée de France, duchesse de Ferrare (1896). Geneva: Slatkine Reprints, 1970.Google Scholar
Roscoe, William. The Life and Pontificate of Leo the Tenth. London: Cadell, 1827.Google Scholar
Rosenthal, Margaret F. The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-Century Venice. Chicago and London: University of Chicago Press, 1993.Google Scholar
Sabadino degli Arienti, Giovanni. Art and Life at the Court of Ercole I d'Este: The De triumphis religionis of Giovanni Sabadino degli Arienti. Edited with an introduction and notes by Gundersheimer, Werner L.. Geneva: Droz, 1972.Google Scholar
Savonarola, Girolamo. Oeuvres spirituelles choises de Jérome Savonarole des frères prècheurs. Edited by Bayonne, Emmanuel-Ceslas. Paris: Librairie Poussielgue frères, 1879.Google Scholar
Scaraffia, Lucetta and Zarri, Gabriella. Women and Faith: Catholic Religious Life in Italy from Late Antiquity to the Present. Cambridge, MA: Harvard University Press, 1999.Google Scholar
Schick, Hartmut. Musikalische Einheit im Madrigal von Rore bis Monteverdi: Phänomene, Formen und Entwicklungslinien. Tutzing: Schneider, 1998.Google Scholar
Schiesari, Juliana. “In Praise of Virtuous Women? For a Genealogy of Gender Morals in Renaissance Italy.” Annali d’italianistica 7 (1989): 6687.Google Scholar
Schiltz, Katelijne. “Cipriano de Rore’s a voci pari Motets: Sources, Context, Style.” In Cipriano de Rore: New Perspectives on His Life and Music, edited by Owens, Jessie Ann and Schiltz, Katelijne, 191227. Turnhout: Brepols, 2017.Google Scholar
Schiltz, Katelijne. “Gioseffo Zarlino and the Miserere Tradition: A Ferrarese Connection?Early Music History 27 (2008): 181216.Google Scholar
Scoglio, Egidio. Il teatro alla corte Estense. Lodi: Biancardi, 1965.Google Scholar
Shephard, Tim. Echoing Helicon: Music, Art and Identity in the Este Studioli, 1440–1530. New York: Oxford University Press, 2014.CrossRefGoogle Scholar
Shephard, Tim. “Noblewomen and Music in Italy, c.1430–1520: Looking Past Isabella.” In Gender, Age and Musical Creativity, edited by Colton, Lisa and Haworth, Catherine, 2740. Farnham: Ashgate, 2015.Google Scholar
Sherr, Richard. “The Publications of Guglielmo Gonzaga.” Journal of the American Musicological Society 31, no. 1 (1978): 118–25.Google Scholar
Slim, H. Colin. A Gift of Madrigals and Motets. Vol. 1. 2 vols. Chicago: University of Chicago Press, 1972.Google Scholar
Solerti, Angelo. Ferrara e la corte estense nella seconda metà del secolo XVI. Città di Castello: Lapi, 1900.Google Scholar
Solerti, Angelo. Vita di Torquato Tasso. Vol. 1. Turin and Rome: Ermanno Loescher, 1895.Google Scholar
Solerti, Angelo. Le origini del melodramma. Turin: Fratelli Bocca, 1903.Google Scholar
Spanò Martinelli, Serena, ed. Il processo di canonizzazione di Caterina Vigri: 1586–1712. Caterina Vigri. La Santa e la Città 4. Florence: SISMEL – edizioni del Galluzzo, 2003.Google Scholar
Sperling, Jutta Gisela. Convents and the Body Politic in Late Renaissance Venice. Chicago: University of Chicago Press, 1999.Google Scholar
Stampino, Maria Galli. Staging the Pastoral: Tasso’s Aminta And the Emergence of Modern Western Theater. Medieval and Renaissance Texts and Studies 280. Tempe: Arizona Center for Medieval and Renaissance Studies, 2005.Google Scholar
Stoppino, Eleonora. Genealogies of Fiction: Women Warriors and the Medieval Imagination in the Orlando Furioso. New York: Fordham University Press, 2012.Google Scholar
Stras, Laurie. “‘Al gioco si conosce il galantuomo’: Artifice, Humour and Play in the Enigmi musicali of Don Lodovico Agostini.” Early Music History 24 (2005): 213–86.Google Scholar
Stras, Laurie. “Cipriano de Rore and the Este Women.” In Cipriano de Rore: New Perspectives on His Life and Music, edited by Owens, Jessie Ann and Schiltz, Katelijne, 75102. Turnhout: Brepols, 2017.Google Scholar
Stras, Laurie. “Considering the Performance of Alessandro Grandi’s Motetti a cinque voci (1614).” In Celesti Sirene: Musica e monachesimo dal Medioevo all’Ottocento, edited by Bonsante, Annamaria and Pasquandrea, Roberto Matteo, 7393. Foggia: Claudio Grenzi Editore, 2010.Google Scholar
Stras, Laurie. “Encoding the Musical Erotic.” In Eroticism in Early Modern Music, edited by Blackburn, Bonnie J. and Stras, Laurie. Farnham: Ashgate, 2015.Google Scholar
Stras, Laurie. “Imitation, Meditation and Penance: Don Lodovico Agostini’s Le lagrime del peccatore (1586).” In “Uno gentile et subtile ingenio”: Studies in Renaissance Music: Essays in Honour of Bonnie Blackburn, edited by Bloxam, M. Jennifer, Filocamo, Gioia, and Holford-Strevens, Leofranc, 121–28. Turnhout: Brepols, 2009.Google Scholar
Stras, Laurie. “Le nonne della ninfa: Feminine Voices and Modal Rhetoric in the Generations Before Monteverdi.” In Gender, Sexuality and Early Music, edited by Borgerding, Todd, 123–65. New York and London: Routledge, 2002.Google Scholar
Stras, Laurie. “Musical Portraits of Female Musicians at the Northern Italian Courts in the 1570s.” In Art and Music in the Early Modern Period: Essays in Memory of Franca Trinchieri Camiz, edited by McIver, Katherine, 145–72. Aldershot: Ashgate, 2003.Google Scholar
Stras, Laurie. “‘Non è sì denso velo’: Hidden and Forbidden Practice in Wert’s Ottavo libro de madrigali a cinque voci, 1586.” In Eroticism in Early Modern Music, edited by Blackburn, Bonnie J. and Stras, Laurie, 143–73. Farnham: Ashgate, 2015.Google Scholar
Stras, Laurie. “‘Onde havrà mond’esempio et vera historia’: Musical Echoes of Henri III’s Progress through Italy.” Acta Musicologica 72, no. 1 (2000): 741.Google Scholar
Stras, Laurie. “The Performance of Polyphony in Early Sixteenth-Century Italian Convents.Early Music 45, no. 2 (2017): 195215.Google Scholar
Stras, Laurie. “Recording Tarquinia: Imitation, Parody and Reportage in Ingegneri’s ‘Hor che ’l ciel e la terra e ’l vento tace.’Early Music 27, no. 3 (1999): 358–78.Google Scholar
Stras, Laurie. “The Ricreationi per monache of Suor Annalena Aldobrandini.” Renaissance Studies 26, no. 1 (2012): 3459.Google Scholar
Stras, Laurie. “Sapienti pauca: The Canones et Echo sex vocibus … eiusdem dialogi (1572) of Don Lodovico Agostini.” In Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History. Proceedings of the International Conference, Leuven, 4–6 October 2005, edited by Blackburn, Bonnie J. and Schiltz, Katelijne, 357–80. Leuven and Dudley, MA: Peeters, 2007.Google Scholar
Stras, Laurie. “Voci pari Motets and Convent Polyphony in the 1540s: The materna lingua complex.” Journal of the American Musicological Society 70, no. 3 (2017): 617–96.Google Scholar
Striggio, Alessandro. Il primo libro de madrigali a sei voci (1560). Edited by Butchart, David. Madison, WI: A-R Editions, Inc., 1986.Google Scholar
Strocchia, Sharon T. Nuns and Nunneries in Renaissance Florence. Baltimore, MD: Johns Hopkins University Press, 2009.Google Scholar
Tasso, Torquato. Love Poems for Lucrezia Bendidio. Edited and translated by Max Wickert. New York: Italica Press, 2011.Google Scholar
Tomlinson, Gary. “Madrigal, Monody, and Monteverdi’s ‘via naturale alla imitatione.’” Journal of the American Musicological Society 34, no. 1 (1981): 60108.Google Scholar
Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987.Google Scholar
Treadwell, Nina. Music and Wonder at the Medici Court: The 1589 Interludes for La Pellegrina. Bloomington: Indiana University Press, 2008.Google Scholar
Treadwell, Nina. “Restaging the Siren: Musical Women in the Performance of Sixteenth-Century Italian Theater.” PhD, University of Southern California, 2000.Google Scholar
Treadwell, Nina. “‘Simil combattimento fatto de Dame’: The musico-theatrical entertainments of Margherita Gonzaga’s balletto delle donne and the Female Warrior in Ferrarese Cultural History.” In Gender, Sexuality, and Early Music, edited by Borgerding, Todd C., 2740. New York: Routledge, 2002.Google Scholar
Treitler, Leo. Music and the Historical Imagination. Cambridge, MA, and London: Harvard University Press, 1989.Google Scholar
Treloar, Stephanie Lynn. “The Madrigals of Giaches de Wert: Patrons, Poets, and Compositional Procedures.” PhD, Harvard University, 2003.Google Scholar
Tuohy, Thomas. Herculean Ferrara: Ercole d’Este (1471–1505) and the Invention of a Ducal Capital. Cambridge: Cambridge University Press, 2002.Google Scholar
Vandelli, Domenico. “Vita di Tarquinia Molza.” In Opuscoli inediti di Tarquinia Molza modenese, edited by Serassi, Pierantonio, 325. Bergamo: Lancellotti, 1750.Google Scholar
Vendramini, Cécile. “Les offrandes musicales à Renée de France, fille de Louis XII.” In Histoire, humanisme et hymnologie : mélanges offerts au professeur Edith Weber, edited by Guillot, Pierre and Jambou, Louis, 193205. Paris: Presses de l’Université Paris-Sorbonne, 1997.Google Scholar
Verdelot, Philippe. Intavolatura de li madrigali di Verdelotto da cantare et sonare nel lauto, intavolati per Messer Adriano (Venice, 1536). Edited by Thomas, Bernard. Renaissance Music Prints 3. London: London Pro Musica, 1980.Google Scholar
Vespa, Geronimo. Il primo libro de madrigali a cinque voci di Geronimo Vespa da Napoli. Edited by Mastrocola, Giordano. Florence: Olschki, 2005.Google Scholar
Vicentino, Nicola. Ancient Music Adapted to Modern Practice. Edited by Palisca, Claude V.. Translated by Maria Rika Maniates. New Haven, CT and London: Yale University Press, 1996.Google Scholar
Vigri, Caterina. Laudi, trattati e lettere. Edited by Serventi, Silvia. Caterina Vigri. La Santa e la Città 2. Florence: SISMEL – Edizioni del Galluzzo, 2000.Google Scholar
Vigri, Caterina. Le sette armi spirituali. Edited by Degl’Innocenti, Antonella. Caterina Vigri. La Santa e la Città 1. Florence: SISMEL – Edizioni del Galluzzo, 2000.Google Scholar
Waisman, Leonardo Julio. “The Ferrarese Madrigal in the Mid-Sixteenth Century.” PhD, University of Chicago, 1988.Google Scholar
Watkins, Glenn. Gesualdo: The Man and His Music. Oxford: Clarendon Press, 1991.Google Scholar
Willaert, Adrian. Opera omnia: Musica nova: 1559: Madrigalia. Edited by Gerstenberg, Walter. Vol. 13. Rome: American Institute of Musicology, 1965.Google Scholar
Wistreich, Richard. Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance. Aldershot: Ashgate, 2007.Google Scholar
Zampelli, Michael. “Trent Revisited: A Reappraisal of Early Modern Catholicism’s Relationship with the Commedia Italiana.” The Journal of Religion and Theatre 1, no. 1 (2002): 120–33.Google Scholar
Zarlino, Gioseffo. The Art of Counterpoint: Part Three of Le Istitutioni Harmoniche, 1588. Translated by Claude V. Palisca. Rpt. New York: Norton, 1976.Google Scholar
Zarlino, Gioseffo. Le istitutioni harmoniche (1588). Facsimile reprint. New York: Broude Brothers, 1965.Google Scholar
Zarlino, Gioseffo. Motets from 1549. Edited by Judd, Cristle Collins. Vol. 1. Recent Researches in the Music of the Renaissance 145. Middleton, WI: A-R Editions, Inc., 2006.Google Scholar
Zarlino, Gioseffo. Motets from the 1560s: Seventeen Motets from Modulationes sex vocum and Motetta D. Cipriani de Rore et aliorum auctorum. Edited by Schiltz, Katelijne and Judd, Cristle Collins. Recent researches in the music of the Renaissance 163. Middleton, WI: A-R Editions, Inc., 2015.Google Scholar
Zerbinati, Giovanni Maria. Croniche di Ferrara: quali comenzano del anno 1500 sino al 1527. Edited by Muzzarelli, Maria Giuseppina. Ferrara: Deputazione provinciale Ferrarese di storia patria, 1989.Google Scholar
Zuccagni-Orlandini, Attilio. Corografia fisica, storica e statistica dell’ Italia e delle sue isole … Supplemento. Vol. 9. Florence: Presso gli editori, 1842.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Laurie Stras, University of Huddersfield
  • Book: Women and Music in Sixteenth-Century Ferrara
  • Online publication: 05 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781316650455.011
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Laurie Stras, University of Huddersfield
  • Book: Women and Music in Sixteenth-Century Ferrara
  • Online publication: 05 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781316650455.011
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Laurie Stras, University of Huddersfield
  • Book: Women and Music in Sixteenth-Century Ferrara
  • Online publication: 05 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781316650455.011
Available formats
×