Feminae: Medieval Women and Gender Index


4 Record(s) Found in our database

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1. Record Number: 6853
Author(s): Williamson, Magnus.
Contributor(s):
Title : Royal Image-Making and Textual Interplay in Gilbert Banaster's "O Maria et Elizabeth" [The author argues that Banaster's motet was commissioned to celebrate Elizabeth of York's Pregnancy in 1486 through music for the Feast of the Visitation. Henry VII was anxious to bolster Tudor legitimacy and an heir from Edward IV's daughter was greatly desired. The Latin text and translation of "O Maria et Elizabeth" is reproduced on pages 244-245. The appendices reproduce Banaster's poem, "Miraculum sancti Thome martyris," which was written in English and a list of the corrodies granted by the Crown to Banaster. Title note supplied by Feminae.].
Source: Early Music History , 19., ( 2000):  Pages 237 - 278.
Year of Publication: 2000.
2. Record Number: 7187
Author(s): Prizer, William F.
Contributor(s):
Title : Renaissance Women as Patrons of Music: The North-Italian Courts [The author draws on correspondence to trace the musical interests of Isabella d'Este and her sister-in-law, Lucrezia Borgia. They both supported a small group of musicians/music and dance teachers in their households. Their personnel specialized in secular vocal music and string music, while musicians from their husbands' households supplied other kinds of music as needed. The Appendix presents transcriptions of eight document texts in Italian and Latin pertaining to Isabella and Lucrezia. Title note supplied by Feminae.].
Source: Rediscovering the Muses: Women's Musical Traditions.   Edited by Kimberly Marshall .   Northeastern University Press, 1993. Early Music History , 19., ( 2000):  Pages 186 - 205.
Year of Publication: 1993.
3. Record Number: 7186
Author(s): Higgins, Paula.
Contributor(s):
Title : The "Other Minervas": Creative Women at the Court of Margaret of Scotland [The author examines the activities of the princess, Margaret of Scotland, and her ladies-in-waiting, both as authors of poetry and creators of music. She critiques recent scholarship because it dismisses women's artistic contributions and grants credence only to the well-documented like Christine de Pizan in the "discourse of the exceptional woman." Title note supplied by Feminae.].
Source: Rediscovering the Muses: Women's Musical Traditions.   Edited by Kimberly Marshall .   Northeastern University Press, 1993. Early Music History , 19., ( 2000):  Pages 169 - 185.
Year of Publication: 1993.
4. Record Number: 7173
Author(s): Higgins, Paula.
Contributor(s):
Title : Parisian Nobles, a Scottish Princess, and the Woman's Voice in Late Medieval Song [The author identifies two different women named Jacqueline de Hacqueville in fifteenth century Paris who may have been the woman referred to in Antoine Busnoy's songs. The author suggests that Jacqueline herself wrote two poems in response to Busnoys and may have actively participated in the musical culture of the court. The author more generally examines late medieval poetry written in a woman's voice and suggests that many anonymous poems may well have been the work of women. The appendices present the text and English translations of the Hacqueville songs, "Ja que lui ne si actende," "A vous sans autre me viens rendre," "Je ne puis vivre ainsi tousiours," and "A que ville est abhominable." Appendix Two lists the family members of Jacques de Hacquville according to a legal document from 1482.].
Source: Early Music History (Full Text via JSTOR) 10 (1991): 145-200. Link Info
Year of Publication: 1991.