Feminae: Medieval Women and Gender Index

112 Record(s) Found in our database

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1. Record Number: 44762
Author(s):
Contributor(s):
Title : Llanthony Story #36: Bishop’s vision of Mary

Source: The Llanthony Stories: A Translation of the Narrationes aliquot fabulosae. Edited by David R. Winter . Pontifical Institute of Mediaeval Studies, 2021. Pages 88 - 89.
Year of Publication: 2021.

2. Record Number: 43993
Author(s): Merkley, Paul,
Contributor(s):
Title : Feminine Way and Feminine Voice: Jeanne de Laval as "Patronnne": Book Production and Collection

Source: Music and Patronage in the Court of René d’Anjou: Sacred and Secular Music in the Literary Program and Ceremonial. Paul Merkley . Arizona Center for Medieval and Renaissance Studies, 2017. Pages 169 - 181.
Year of Publication: 2017.

3. Record Number: 43994
Author(s): Merkley, Paul,
Contributor(s):
Title : The Golden Legend in Provence

4. Record Number: 23771
Author(s): Deeming, Helen
Contributor(s):
Title : Text, Music, and Gender in the Middle Ages [The Plainsong and Medieval Music Society combined its Annual General Meeting with a study day. The theme for papers was" Ave/Eva: Text, Music and Gender in the Middle Ages".]

Source: Early Music , 36., 3 ( 2008): Pages 509
Year of Publication: 2008.

5. Record Number: 10540
Author(s): Fassler, Margot.
Contributor(s):
Title : Music For the Love Feast: Hildegard of Bingen and the "Song of Songs" [The author focuses on two scriptural themes: the love feast of the "Song of Songs" and the song of the Lamb's high court from the "Book of Revelations." Fassler traces these themes in Hildegard's songs for St. Ursula and in her musical play, the "Ordo virtutum." Title note supplied by Feminae.].

Source: Women's Voices across Musical Worlds. Edited by Jane A. Bernstein . Northeastern University Press, 2004. Early Music , 36., 3 ( 2008): Pages 92 - 117.
Year of Publication: 2004.

6. Record Number: 10822
Author(s): Góngora, María Eugenia.
Contributor(s):
Title : Feminea Forma and "Virga": Two Images of Incarnation in Hildegard of Bingen's "Symophonia"

Source: The Voice of Silence: Women's Literacy in a Men's Church. Edited by Thérèse de Hemptinne and María Eugenia Góngora Medieval Church Studies . Brepols, 2004. Early Music , 36., 3 ( 2008): Pages 23 - 36.
Year of Publication: 2004.

7. Record Number: 10823
Author(s): Flisfisch, María Isabel.
Contributor(s):
Title : The Eve-Mary Dichotomy in the "Symphonia" of Hildegard of Bingen

8. Record Number: 10824
Author(s): Meli, Beatriz.
Contributor(s):
Title : Virginitas and "Auctoritas": Two Threads in the Fabric of Hildegard of Bingen's "Symphonia armonie celestium revelationum"

9. Record Number: 11750
Author(s): Fassler, Margot.
Contributor(s):
Title : Music and the Miraculous: Mary in the Mid-Thirteenth-Century Dominican Sequence Repertory [The early Dominicans felt a special closeness to the Virgin Mary. This was expressed in hymns like the "Salve regina," and in special liturgical sequences for Saturday devotions to Mary. The order, guided by Humbert of Romans, created a unified liturgy that drew upon Parisian models. These were adapted to Dominican needs, including by editing existing compositions, and new compositions were prepared after Humbert's time. Title note supplied by Feminae.].

Source: Aux origines de la liturgie dominicaine: Le manuscrit Santa Sabina XIV L 1. Edited by Leonard Boyle and Pierre-Marie Gy . École française de Rome, 2004. Early Music , 36., 3 ( 2008): Pages 229 - 278.
Year of Publication: 2004.

10. Record Number: 10882
Author(s): Wiethaus, Ulrike.
Contributor(s):
Title : The Death Song of Marie d'Oignies: Mystical Sound and Hagiographical Politics in Medieval Lorraine [The author analyzes three biographical texts, written by Jacques de Vitry, Thomas de Cantimpré, and the anonymous author of the "History of the Church of Oignies." Weithaus places particular emphasis on the ideologies, both political and theological, that each author emphasizes in his account of Marie's life. Title note supplied by Feminae.].

Source: The Texture of Society: Medieval Women in the Southern Low Countries. Edited by Ellen E. Kittell and Mary A. Suydam . Palgrave Macmillan, 2004. Early Music , 36., 3 ( 2008): Pages 153 - 179.
Year of Publication: 2004.

11. Record Number: 9857
Author(s):
Contributor(s):
Title : Reading across Genres: Froissart's "Joli Buisson de Jonece" and Machaut's Motets

Source: French Studies , 57., 1 (January 2003): Pages 1 - 10.
Year of Publication: 2003.

12. Record Number: 10864
Author(s): Collingridge, Lorna.
Contributor(s):
Title : Please Don't Talk about Hildegard and Feminism in the Same Breath! [Third article in a roundtable entitled "Are we Post-Feminist Yet?] [The author acknowledges the contributions feminism has made to the study of Hildegard of Bingen. On the one hand, feminism is an anachronism for the twelfth century, but at the same time, feminist studies has helped scholars understand the embodied nature of medieval musical practice. Title note supplied by Feminae.].

Source: Medieval Feminist Forum , 34., (Fall 2002): Pages 35 - 43.
Year of Publication: 2002.

13. Record Number: 6402
Author(s): Curtis, Liane.
Contributor(s):
Title : Christine de Pizan and "Dueil Angoisseux" [When Christine de Pizan began her literary carrier, writing the "Cent Ballades," she exploited her widow's status, writing in terms of lamentation and long suffering; these were supposed to come naturally to women, especially to widows, removed by misfortune from contamination though sexual activity; "Dueil Angoisseux" was one of these ballades; the poem, an expressions of a widow's grief, was set to music by Binchois (Gilles); both Christine's text and Binchois' music exploit effectively a topic, suffering, in which women were believed to be superior to men; the Appendix presents the French text of "Dueil Angoisseux" along with an English translation].

Source: Gender, Sexuality, and Early Music. Edited by Todd M. Borgerding . Routledge, 2002. French Studies , 57., 1 (January 2003): Pages 265 - 282.
Year of Publication: 2002.

14. Record Number: 6222
Author(s): Lewis, Katherine J.
Contributor(s):
Title : Odin I await thee, Your true son am I: Seeing Medieval Masculinity in Heavy Metal

Source: Seeing Gender: Perspectives on Medieval Gender and Sexuality. Gender and Medieval Studies Conference, King's College, London, January 4-6, 2002. . 2002. French Studies , 57., 1 (January 2003):
Year of Publication: 2002.

15. Record Number: 6401
Author(s): Borgerding, Todd M.
Contributor(s):
Title : Sic ego te dilegebam: Music, Homoeroticism, and the Sacred in Early Modern Europe [The motet "Planxit autem David," sometimes attributed to Josquin Desprez, can be read as expressing, in both text and music, a homosexual relationship between David and Jonathan; this would place the motet in the same context as the homoerotic myth of Ganymede and the depiction of Orpheus by Ovid as turning to the love of young men after his loss of Eurydice; the emphasis upon the name of Jonathan in this composition can be read as supporting such an interpretation; the Appendix presents the Latin text as set by Josquin Desprez along with an English translation].

Source: Gender, Sexuality, and Early Music. Edited by Todd M. Borgerding . Routledge, 2002. French Studies , 57., 1 (January 2003): Pages 249 - 263.
Year of Publication: 2002.

16. Record Number: 7078
Author(s): Boynton, Susan and Martina Pantarotto
Contributor(s):
Title : Ricerche sul breviario di Santa Giulia (Brescia, Biblioteca Queriniana, ms. H VI 21) [The monastery of Santa Giulia, Brescia, by the eleventh century had passed from imperial to local patronage. The paleographic and musical evidence place the origin of the manuscript in the eleventh century with additions made in the twelfth. Saint Agatha, a virgin martyr of noble birth, who had a special appeal to well-born nuns, received particular attention. The manuscript also shows scarce evidence of the glossing of liturgical texts. Title note supplied by Feminae.].

Source: Studi Medievali , 42., 1 (Giugno 2001): Pages 301 - 318.
Year of Publication: 2001.

17. Record Number: 5912
Author(s): Ladis, Andrew.
Contributor(s):
Title : The Music of Devotion: Image, Voice, and the Imagination in a "Madonna of Humility" by Domenico di Bartolo [Domenico di Bartolo adapted for his painting "Madonna of Humility" the Sienese practice of attaching jewelry to works of art; this reflected Marian titles like "star of the sea" and "precious gem," with their luminous implications; Domenico also made great use of musical imagery, with its liturgical references].

Source: Visions of Holiness: Art and Devotion in Renaissance Italy. Edited by Andrew Ladis and Shelley E. Zuraw . Georgia Museum of Art, University of Georgia, 2001. Medieval Feminist Forum , 32., (Fall 2001): Pages 163 - 177.
Year of Publication: 2001.

18. Record Number: 6719
Author(s): Jeffreys, Catherine.
Contributor(s):
Title : Listen, Daughters of Light: The Epithalamium and Musical Innovation in Twelfth-Century Germany

Source: Listen, Daughter: The "Speculum virginum" and the Formation of Religious Women in the Middle Ages. Edited by Constant J. Mews . The New Middle Ages Series. Palgrave, 2001. Medieval Feminist Forum , 32., (Fall 2001): Pages 137 - 157.
Year of Publication: 2001.

19. Record Number: 6745
Author(s): Siberry, Elizabeth.
Contributor(s):
Title : The Crusader's Departure and Return: A Much Later Perspective [The author explores the nineteenth century romantic image of the crusader's departure and return in popular art, poetry, and music].

Source: Gendering the Crusades. Edited by Susan B. Edgington and Sarah Lambert . University of Wales Press, 2001. Medieval Feminist Forum , 32., (Fall 2001): Pages 177 - 190.
Year of Publication: 2001.

20. Record Number: 6091
Author(s): Edwards, J. Michele.
Contributor(s):
Title : Women in Music to ca. 1450 [the author provides a brief overview touching on trobairitz, female minstrels, women and music at royal courts throughout Europe and Japan, Byzantine women who composed music, the varied kinds of music in women's religious houses, and Hildegard of Bingen's music].

Source: Women and Music: A History. Edited by Karin Pendle . Second edition. Indiana University Press, 2001. Studi Medievali , 42., 1 (Giugno 2001): Pages 26 - 53.
Year of Publication: 2001.

21. Record Number: 5884
Author(s):
Contributor(s):
Title : The Theotokos as Protectress: The "Akathistos Hymn" and the Siege of Constantinople

Source: Byzantine Studies Conference. Abstracts of Papers , 27., ( 2001): Pages 4
Year of Publication: 2001.

22. Record Number: 5774
Author(s): Bryce, Judith.
Contributor(s):
Title : Performing for Strangers: Women, Dance, and Music in Quattrocento Florence

Source: Renaissance Quarterly (Full Text via JSTOR) 54, 4.1 (Winter 2001): 1074-1107. Link Info
Year of Publication: 2001.

23. Record Number: 5885
Author(s): Touliatos-Miles, Diane.
Contributor(s):
Title : The Role of Women in Music in Byzantium

Source: Byzantine Studies Conference. Abstracts of Papers , 27., ( 2001): Pages 8
Year of Publication: 2001.

24. Record Number: 6929
Author(s): Rondeau, Jennifer Fisk.
Contributor(s):
Title : Conducting Gender: Theories and Practices in Italian Confraternity Literature [The author explores both confraternity statutes and "laude," vernacular hymns, for their uses of gender. Title note supplied by Feminae.].

Source: Medieval Conduct. Edited by Kathleen Ashley and Robert L. A. Clark . Medieval Cultures, Volume 29. University of Minnesota Press, 2001. Byzantine Studies Conference. Abstracts of Papers , 27., ( 2001): Pages 183 - 206.
Year of Publication: 2001.

25. Record Number: 10183
Author(s): Psaki, F. Regina.
Contributor(s):
Title : Women's Voices and Medieval Song: An Interview with Anne Azéma and Shira Kammen [Azéma and Kammen performed medieval music for the "Medieval and Renaissance Lyric" course at the University of Oregon. Afterwards the students and teacher (F. Regina Psaki) asked the two musicians about their performance practice, troubadour verse and music, and the various kinds of evidence that informed their repertoire. Title note supplied by Feminae.].

Source: Medieval Feminist Forum , 32., (Fall 2001): Pages 14 - 23.
Year of Publication: 2001.

26. Record Number: 4548
Author(s): Fassler, Margot.
Contributor(s):
Title : Mary's Nativity, Fulbert of Chartres, and the "Stirps Jesse": Liturgical Innovation circa 1000 and Its Afterlife

Source: Speculum , 75., 2 (April 2000): Pages 389 - 434.
Year of Publication: 2000.

27. Record Number: 4869
Author(s): Natvig, Mary.
Contributor(s):
Title : Rich Clares, Poor Clares: Celebrating the Divine Office ["The goal of this study is to trace the role of music in the Clarissan liturgy throughout the development of the order, from its origins in the early thirteenth century through its reform more than two hundred years later. Most of the extant evidence comes from the interpretation of numerous rules that governed the sisters." (Page. 60). Appendices include two extracts from the "Acta sanctorum" that describe how the Poor Clares celebrate the Divine Office, an extract from "Historiae seu vitae sanctorum" by Surius again describing the performance of the Office, and a list of polyphonic manuscripts with possible connections to the convents of St. Clare].

Source: Women and Music , 4., ( 2000): Pages 59 - 70.
Year of Publication: 2000.

28. Record Number: 6852
Author(s): Leach, Elizabeth Eva.
Contributor(s):
Title : Fortune's Demesne: The Interrelation of Text and Music in Machaut's "Il mest avis" (B22), "De Fortune" (B23), and Two Related Anonymous Balades [The author deals in part with the female character who speaks in "De Fortune." She is losing her "doulz ami" because Fortune (also female) is unreliable. Title note supplied by Feminae.].

Source: Early Music History , 19., ( 2000): Pages 47 - 79.
Year of Publication: 2000.

29. 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.

30. Record Number: 4798
Author(s): Kreutziger-Herr, Annette.
Contributor(s):
Title : Hildegard of Bingen Conference [an international congress held in Bingen in September 1998].

Source: Early Music (Full Text via JSTOR) 27, 1 (Feb. 1999): 156-157. Link Info
Year of Publication: 1999.

31. Record Number: 4799
Author(s): Neumann, Klaus L.
Contributor(s):
Title : Barbara Thornton, 1950- 98 [singer of Hildegard of Bingen's music and co-founder of Sequentia, a group for the performance of medieval music].

Source: Early Music (Full Text via JSTOR) 27, 1 (Feb. 1999): 169. Link Info
Year of Publication: 1999.

32. Record Number: 5387
Author(s): Kidwell, Susan.
Contributor(s):
Title : Gaude Virgo Katherina: The Veneration of St. Katherine in Fifteenth-Century England [the author argues that Dunstable composed the two motets, "Salve scema sanctitatis" and "Gaude Virgo Katherina," for the 1420 wedding of Catherine of Valois and Henry V of England, the former used to celebrate the political unity of England and France while the latter might have been Henry's gift to his bride for a service in the queen's chapel].

Source: Explorations in Renaissance Culture , 25., ( 1999): Pages 19 - 39.
Year of Publication: 1999.

33. Record Number: 7813
Author(s): Fierro, Nancy.
Contributor(s):
Title : Summer 1998: Celebrating Hildegard's 900th Birthday [The author briefly describes a conference at Sarum College, a lecture which she delivered in Bingen, and an exhibit in Mainz at the Cathedral Museum. Title note supplied by Feminae.].

Source: IAWM: International Alliance for Women in Music Journal , 5., 1 (Winter 1999): Pages 13 - 14.
Year of Publication: 1999.

34. Record Number: 4438
Author(s): Boenig, Robert.
Contributor(s):
Title : Alma Redemptoris Mater, "Gaude Maria," and The Prioress's Tale [The author describes the difficulty of "Gaude Maria" and suggests that Chaucer chose "Alma Redemptoris Mater" instead because it is much easier to sing and emphasizes the clergeon's young age and vulnerability].

Source: Notes and Queries , 3 (September 1999): Pages 321 - 326.
Year of Publication: 1999.

35. Record Number: 7814
Author(s): Cook, Susan C.
Contributor(s):
Title : Hildegard's All-Girl Victory Band [The author argues for the importance of Hildegard's "Ordo Virtutum" and discusses a performance of the "Electric Ordo Virtutum" by the Hildegurls. Each of the four composer-performers interpreted a section by creating new music and playing the lead role in that part of the performance. Title note supplied by Feminae.].

Source: IAWM: International Alliance for Women in Music Journal , 5., 1 (Winter 1999): Pages 14 - 16.
Year of Publication: 1999.

36. Record Number: 3991
Author(s): Fassler, Margot.
Contributor(s):
Title : Composer and Dramatist: "Melodious Singing and the Freshness of Remorse"

Source: Voice of the Living Light: Hildegard of Bingen and Her World. Edited by Barbara Newman . University of California Press, 1998. Women of Note Quarterly , 6., 3 (August 1998): Pages 149 - 175.
Year of Publication: 1998.

37. Record Number: 4158
Author(s): Witts, Richard.
Contributor(s):
Title : How to Make a Saint: On Interpreting Hildegard of Bingen [The author examines Hildegard's status as a twentieth-century cult figure and the different ways in which groups perform her music].

Source: Early Music (Full Text via JSTOR) 26, 3 (August 1998): 478-485. Link Info
Year of Publication: 1998.

38. Record Number: 5529
Author(s): Cheyette, Fredric L. and Margaret Switten
Contributor(s):
Title : Women in Troubadour Song: Of the Countess and the Vilana [The authors analyze two songs, one by the Countess de Dia and the other by Marcabru, in which strong women's voices are heard demanding their rights and resisting exploitation; the authors also trace the varied political roles of Occitan noble women and the social setting in which these two songs might have been performed].

Source: Women and Music , 2., ( 1998): Pages 26 - 45.
Year of Publication: 1998.

39. Record Number: 4859
Author(s): Longaker, Mark.
Contributor(s):
Title : Nine Hundred Years Young: Hildegard von Bingen [The author briefly summarizes Hildegard's life, but he concentrates on the performance and interpretation of Hildegard's music by current singers and groups].

Source: Women of Note Quarterly , 6., 4 (November 1998): Pages 1
Year of Publication: 1998.

40. Record Number: 4294
Author(s): Bumpass, Kathryn L.
Contributor(s):
Title : A Musical Reading of Hildegard's Responsory "Spiritui Sancto"

Source: Hildegard of Bingen: A book of Essays. Edited by Maud Burnett McInerney . Garland Publishing, 1998. Women and Music , 2., ( 1998): Pages 155 - 173.
Year of Publication: 1998.

41. Record Number: 5565
Author(s): Stinson, John.
Contributor(s):
Title : The Dominican Liturgy of the Assumption: Texts and Music for the Divine Office [The author studies the Office for the feast of the Assumption in a set of early fourteenth-century Dominican choir-books made for the Church of San Domenico in Perugia; the Appendix presents an edition of the text and music of the Office (along with thre

Source: The Art of the Book: Its Place in Medieval Worship. Edited by Margaret M. Manion and Bernard J. Muir . University of Exeter Press, 1998. Women and Music , 2., ( 1998): Pages 163 - 193.
Year of Publication: 1998.

42. Record Number: 3175
Author(s): Winkelman, Johann H.
Contributor(s):
Title : Laatmiddeleeuwse erotica in woord en beeld. Over de literaire achtergronden van enkele profane insignes

Source: Amsterdamer Beiträge zur älteren Germanistik , 50., ( 1998): Pages 167 - 84.
Year of Publication: 1998.

43. Record Number: 2965
Author(s): Muessig, Carolyn.
Contributor(s):
Title : Prophecy and Song: Teaching and Preaching by Medieval Women [takes examples from the lives of Hildegard of Bingen, Rose of Viterbo, Umiltà of Faenze, Marie of Oignies, Christina of St. Trond, Lutgard of Aywières and Ida of Louvain].

Source: Women Preachers and Prophets Through Two Millennia of Christianity. Edited by Beverly Mayne Kienzle and Pamela J. Walker . University of California Press, 1998. Amsterdamer Beiträge zur älteren Germanistik , 50., ( 1998): Pages 146 - 158.
Year of Publication: 1998.

44. Record Number: 5261
Author(s): White, John D.
Contributor(s):
Title : The Musical World of Hildegard of Bingen [The author explores the various kinds of music that Hildegard may have known including the chant of the liturgy, musical instruments from the secular world, and lay music including Minnesang].

Source: College Music Symposium , 38., ( 1998): Pages 6 - 16.
Year of Publication: 1998.

45. Record Number: 5262
Author(s): Cyrus, Cynthia J. and Olivia Carter Mather
Contributor(s):
Title : Rereading Absence: Women in Medieval and Renaissance Music [The authors include a case study of music history textbooks, examining their content on medieval and Renaissance women as composers and performers, patrons, and as active agents in society in general].

Source: College Music Symposium , 38., ( 1998): Pages 101 - 117.
Year of Publication: 1998.

46. Record Number: 4850
Author(s): Harbach, Barbara.
Contributor(s):
Title : Review-Essay Medieval Love Songs [The author provides a brief background on medieval secular music and women's known involvement in it; thereafter she reviews eight recent recordings of medieval women's songs].

Source: Women of Note Quarterly , 6., 3 (August 1998): Pages 1
Year of Publication: 1998.

47. Record Number: 1594
Author(s): Oliver, Judith.
Contributor(s):
Title : Worship of the Word: Some Gothic "NonnenbŸcher" in Their Devotional Context [choirbooks, antiphonals, psalters, homilaries and other books necessary for the monastic life; discusses the importance placed on individual words and the influence of needlework on the aesthetics of the manuscripts].

Source: Women and the Book: Assessing the Visual Evidence. Edited by Lesley Smith and Jane H.M. Taylor . British Library and University of Toronto Press, 1997. Women of Note Quarterly , 6., 4 (November 1998): Pages 106 - 122.
Year of Publication: 1997.

48. Record Number: 2557
Author(s): Kisby, Fiona.
Contributor(s):
Title : A Mirror of Monarchy: Music and Musicians in the Household Chapel of the Lady Margaret Beaufort, Mother of Henry VII [article includes an appendix listing the members of the chapel of Lady Margaret Beaufort].

Source: Early Music History (Full Text via JSTOR) 16 (1997): 203-234. Link Info
Year of Publication: 1997.

49. Record Number: 6837
Author(s): Higgins, Paula.
Contributor(s):
Title : Musical "Parents" and Their "Progeny": The Discourse of Creative Patriarchy in Early Modern Europe [The author argues that between 1450 and 1600 musicians developed metaphors of fatherhood and male procreation to describe musical creativity and the relation between master and student. The author advocates a feminist analysis of this elaborate male patrilineage. Title note supplied by Feminae.].

Source: Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood. Edited by Jessie Ann Owens and Anthony M. Cummings . Harmonie Park Press, 1997. Pages 169 - 186.
Year of Publication: 1997.

50. Record Number: 3288
Author(s): Berger, Christian and Tomas Tomasek
Contributor(s):
Title : KI 68 im Kontext der Margarethe-Lieder Oswalds von Wolkenstein

Source: Jahrbuch der Oswald von Wolkenstein Gesellschaft , 9., ( 1996- 1997): Pages 157 - 177.
Year of Publication: 1996- 1997.

51. Record Number: 2392
Author(s): Davidson, Audrey Ekdahl.
Contributor(s):
Title : Hildegard of Bingen (1098-1179): The "Ordo Virtutum" [includes Latin text, English translation, and modern performance scores for three pieces from the "Ordo Virtutum": "Flos campi, No. 38," "Gaudete, O socii, No. 80," and "In principio, No. 87"].

Source: Women Composers: Music Through the Ages. Edited by Martha Furman Schleifer and Sylvia Glickman . Volume 1 Composers Born Before 1599. G.K. Hall ; Prentice Hall International, 1996. Jahrbuch der Oswald von Wolkenstein Gesellschaft , 9., ( 1996- 1997): Pages 51 - 60.
Year of Publication: 1996.

52. Record Number: 1804
Author(s):
Contributor(s):
Title : Art News: Anne Azéma [soprano Anne Azéma performs "Fables" and "Lais" by Marie de France].

Source: Le Cygne: Bulletin of the International Marie de France Society: Abstracts, Notes, and Queries , 2., (April 1996): Pages 36 - 37.
Year of Publication: 1996.

53. Record Number: 1855
Author(s): Wulstan, David.
Contributor(s):
Title : Decadal Songs in the "Cantigas de Santa Maria" [argues that the songs which appear at every tenth number are set off, not only because they are "cantigas de loor" rather than narratives, but also because they share structural elements, rhythms, and melodies that come from Galician traditions].

Source: Bulletin of the Cantigueiros de Santa Maria , 8., (Spring 1996): Pages 35 - 58.
Year of Publication: 1996.

54. Record Number: 2395
Author(s): Beck, Eleonora M.
Contributor(s):
Title : Women and Trecento Music [describes the musical training that young women of the upper classes received according to Francesco da Barberino's "Reggimento"].

Source: Women Composers: Music Through the Ages. Edited by Martha Furman Schleifer and Sylvia Glickman . Volume 1 Composers Born Before 1599. G.K. Hall ; Prentice Hall International, 1996. Bulletin of the Cantigueiros de Santa Maria , 8., (Spring 1996): Pages 73 - 77.
Year of Publication: 1996.

55. Record Number: 2397
Author(s): Hospenthal, Christina.
Contributor(s):
Title : Suster Bertken (1426/27-1514) [includes text, English translation, and modern performance score for "Die werelt hielt mi in hair gewout"].

Source: Women Composers: Music Through the Ages. Edited by Martha Furman Schleifer and Sylvia Glickman . Volume 1 Composers Born Before 1599. G.K. Hall ; Prentice Hall International, 1996. Bulletin of the Cantigueiros de Santa Maria , 8., (Spring 1996): Pages 84 - 87.
Year of Publication: 1996.

56. Record Number: 5505
Author(s): Escot, Pozzi.
Contributor(s):
Title : Hildegard's Christianity: An Assimilation of Pagan and Ancient Classical Traditions

Source: Wisdom Which Encircles Circles: Papers on Hildegard of Bingen. Edited by Audrey Ekdahl Davidson . Medieval Institute Publications, Western Michigan University, 1996. Bulletin of the Cantigueiros de Santa Maria , 8., (Spring 1996): Pages 53 - 60.
Year of Publication: 1996.

57. Record Number: 5507
Author(s): McGuire, Thérèse.
Contributor(s):
Title : Medieval Aesthetic Principles in the Works of Hildegard of Bingen

58. Record Number: 5508
Author(s): Slocum, Kay Brainerd.
Contributor(s):
Title : The Harmony of Celestial Revelations: Hildegard's Theology of Music

59. Record Number: 5509
Author(s): Cogan, Robert.
Contributor(s):
Title : Hildegard's Fractal Antiphon [The author uses the term "fractal" to describe the similar relationship among rising and falling lines in different scales].

60. Record Number: 5510
Author(s): Jenni, Martin.
Contributor(s):
Title : Godfire: Hildegard's Hymns to the Holy Spirit [in the Appendix the author presents the Latin text of "O ignis spiritus paracliti" along with an English translation].

61. Record Number: 6300
Author(s): Frings, Irene.
Contributor(s):
Title : Sancta Maria, quid est?: Hymnus, Herrscherlob und Ikonenkult im Rom der Jahrtausendwende

Source: Analecta Cisterciensia , 52., ( 1996): Pages 224 - 250.
Year of Publication: 1996.

62. Record Number: 2396
Author(s): Holloway, Julia Bolton, Sister
Contributor(s):
Title : Saint Birgitta of Sweden and Brigittine Music

63. Record Number: 2394
Author(s): Yardley, Anne Bagnall.
Contributor(s):
Title : Was Anonymous a Woman? [suggests that some liturgical chants may have been composed by nuns].

64. Record Number: 2393
Author(s): Michaud, Francine.
Contributor(s):
Title : The Comtessa de Dia and the Trobairitz [includes Occitan text, English translation, and modern performance scores for "A chantar m'er de so qu'ieu no volria" and "Estat ai en greu cossirier" by the countess de Dia and "Loncx temps ai avut cossiriers" by Raimon de Miraval].

65. Record Number: 2398
Author(s): Cardamone, Donna G.
Contributor(s):
Title : Lifting the Protective Veil of Anonymity: Women as Composer-Performers, ca. 1300-1566 [women from aristocratic families learned to sing and play instruments as part of their education and may have also composed songs; includes the Italian text, English translation, and modern performance score for "Lieta vivo e contenta dapoi ch'il mio bel Sole" attributed to Isabella de' Medici Orsini (1542-1576)].

66. Record Number: 2389
Author(s): Touliatos, Diane.
Contributor(s):
Title : Kassia (ca. 810- between 843 and 867) [she wrote the words and music for many well-known hymns ; article includes Greek texts, English translations, and modern performance scores for "Edessa Rejoices" (Hymn to Saints Gurias, Samonas, and Abibus, Confessors and Martyrs at Vespers (November 15)

67. Record Number: 2390
Author(s): Pfau, Marianne Richert.
Contributor(s):
Title : Hildegard von Bingen (1098-1178): Biography

68. Record Number: 2391
Author(s): Pfau, Marianne Richert.
Contributor(s):
Title : Hildegard von Bingen (1098-1179) : Responsories, Sequences, and Hymns in Hildegard's "Symphonia" [includes Latin text, English translation, and modern performance scores for "Vos flores rosarum", "O clarissima mater", "O lucidissima apostolorum turba", "Cum vox sanguinis", and "O ecclesia"].

69. Record Number: 1129
Author(s): Oak, Ellen.
Contributor(s):
Title : She Who Is: Blessed Be She [Oak has recorded the songs of Hildegard of Bingen on "The Harmony of Heaven" and "Sounding the Living Light"; the article includes her translation of Hildegard's "Antiphon for the Dedication of a Church" and excerpts from her letter to Canoness Tengswith of Andernach].

Source: Magistra , 1., 1 (Summer 1995): Pages 116 - 121.
Year of Publication: 1995.

70. Record Number: 1444
Author(s): Zehringer, William C.
Contributor(s):
Title : The Sound of Praise and Bliss of Life: The Place of Music in the Visionary Art of Hildegard of Bingen [analysis of her sequence "O ignis spiritus"].

Source: American Benedictine Review , 46., 2 (June 1995): Pages 194 - 206.
Year of Publication: 1995.

71. Record Number: 571
Author(s): O'Connor, Michael.
Contributor(s):
Title : Johannes Roderici: Identifying the Musician of Las Huelgas [notations in the Codex of Las Huelgas credit Johan Rodríguez as the composer and editor of several pieces].

Source: Medieval Perspectives , 10., ( 1995): Pages 169 - 177. Proceedings of the Twentieth Annual Conference of the Southeastern Medieval Association
Year of Publication: 1995.

72. Record Number: 355
Author(s): Lewis, Gertrud Jaron.
Contributor(s):
Title : Music and Dancing in the Fourteenth- Century Sister- Books

Source: Vox Mystica: Essays on Medieval Mysticism in Honor of Professor Valerie M Lagorio. Edited by Anne Clark Bartlett, Thomas H. Bestul, Janet Goebel, and William F. Pollard . D.S. Brewer, 1995. Medieval Perspectives , 10., ( 1995): Pages 159 - 169.
Year of Publication: 1995.

73. Record Number: 2842
Author(s):
Contributor(s):
Title : Die Meierstochter und Agnes: Ein Vergleich

Source: Amsterdamer Beiträge zur älteren Germanistik , ( 1995): Pages 467 - 475.
Year of Publication: 1995.

74. Record Number: 2843
Author(s): Willaert, Frank
Contributor(s):
Title : Maria Magdelenas Lied im 'Maastrichter Passionsspiel"

Source: Amsterdamer Beiträge zur älteren Germanistik , ( 1995): Pages 543 - 551.
Year of Publication: 1995.

75. Record Number: 42
Author(s): Robertson, Anne Walters.
Contributor(s):
Title : Remembering the Annunciation in Medieval Polyphony

Source: Speculum (Full Text via JSTOR) 70 (1995): 275-304. Link Info
Year of Publication: 1995.

76. Record Number: 1687
Author(s): Schaffer, Martha E.
Contributor(s):
Title : Marginal Notes in the Toledo Manuscript of Alfonso El Sabio's "Cantigas de Santa Maria": Observations on Composition, Correction, Compilation, and Performance [author argues that the manuscript was used as a performance copy].

Source: Bulletin of the Cantigueiros de Santa Maria , 7., (Spring 1995): Pages 65 - 84.
Year of Publication: 1995.

77. Record Number: 3487
Author(s): Bloxam, M. Jennifer.
Contributor(s):
Title : Plainsong and Polyphony for the Blessed Virgin: Notes on Two Masses by Jacob Obrecht

Source: Journal of Musicology (Full Text via JSTOR) 12, 1 (Winter 1994): 51-75. Link Info
Year of Publication: 1994.

78. Record Number: 1958
Author(s): Christie, Niall.
Contributor(s):
Title : Troubadour or Trobairitz? Inconsistent Gender Markings in Paris, Bibliothèque Nationale, Ms. fr. 844 [analysis of the Countess de Dia's "A chanta m'er de so qu'ieu no volria"].

Source: Manuscripta , 38., 3 (November 1994): Pages 205 - 206.
Year of Publication: 1994.

79. Record Number: 1588
Author(s): Dobrov, Gregory W.
Contributor(s):
Title : A Dialogue with Death: Ritual Lament and the "Threnos Theotokou" of Romanos Melodos [a "kontakion," a dramatic and complex chanted dialogue, in this case, between Mary and Christ, exploring paradoxes of gender, body, and voice].

Source: Greek, Roman, and Byzantine Studies , 35., 4 (Winter 1994): Pages 385 - 405.
Year of Publication: 1994.

80. Record Number: 3620
Author(s): Dobrov, Gregory W.
Contributor(s):
Title : Voicing the Virgin: Dialogic Invention of the Theotokos in the Sixth-Century Kontakion

Source: Byzantine Studies Conference. Abstracts of Papers , 20., ( 1994): Pages 9 - 10.
Year of Publication: 1994.

81. Record Number: 7185
Author(s):
Contributor(s):
Title : Symbols, Performers, and Sponsors: Female Musical Creators in the Late Middle Ages [The author examines representations of "Musica," one of the seven liberal arts, as a woman along with reports of women performing music and commissioning music. The author argues that women had a much greater role in creating music than modern scholars have realized. Title note supplied by Feminae.].

Source: Rediscovering the Muses: Women's Musical Traditions. Edited by Kimberly Marshall . Northeastern University Press, 1993. Pages 140 - 168.
Year of Publication: 1993.

82. 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. Pages 186 - 205.
Year of Publication: 1993.

83. Record Number: 7184
Author(s): Touliatos, Diane.
Contributor(s):
Title : The Traditional Role of Greek Women in Music from Antiquity to the End of the Byzantine Empire [The author provides a brief overview of women in music in the Greek world. The Byzantine women profiled all composed liturgical music including Martha, Theodosia, Thekla, Kassia, Kouvouklisena, and Palaeologina. Title note supplied by Feminae.].

Source: Rediscovering the Muses: Women's Musical Traditions. Edited by Kimberly Marshall . Northeastern University Press, 1993. Pages 111 - 123.
Year of Publication: 1993.

84. 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. Pages 169 - 185.
Year of Publication: 1993.

85. Record Number: 11050
Author(s): Bloxam, M. Jennifer.
Contributor(s):
Title : La Contenance Italienne: The Motets on "Beata es Maria" by Compère, Obrecht, and Brumel [The author explores the influence of the "lauda," a popular Italian religious song, on three related motets in praise of the Virgin Mary. Title note supplied by Feminae.].

Source: Early Music History (Full Text via JSTOR) 11 (1992): 39-89. Link Info
Year of Publication: 1992.

86. Record Number: 8777
Author(s): O'Gorman, Richard.
Contributor(s):
Title : The "Stabat mater" in Middle French Verse: An Edition of Paris, Bibliothèque nationale, fr 24865 [The author discusses the relationship between this manuscript, which includes a Middle French version of the "Stabat mater," and five other manuscript versions. The Appendix presents editions of the text from BN fr 24865 and from the much different version in Poitiers, Bibliothèque Municipale 95. Title note supplied by Feminae.].

Source: Franciscan Studies , 52., ( 1992): Pages 191 - 201.
Year of Publication: 1992.

87. Record Number: 10007
Author(s): Kinkade, Richard P.
Contributor(s):
Title : Alfonso X, "Cantiga 235," and the Events of 1269-1278 ["Cantiga 235," one of hundreds of lyrics Alfonso wrote in praise of the Virgin Mary, gives a broad historical perspective on the poet’s reign as King of Castile. While the poem praises Mary throughout, it also chronicles a series of personal betrayals and gives insight into the king’s own ill health and suffering. The article includes a detailed account of the major events in Alfonso’s reign, including the execution of his own brother on the charge of sodomy. Title note supplied by Feminae.].

Source: Speculum , 67., 2 (April 1992): Pages 284 - 323.
Year of Publication: 1992.

88. Record Number: 10009
Author(s): Bruckner, Matilda Tomaryn.
Contributor(s):
Title : Fictions of the Female Voice: The Women Troubadours [Trobairitz (female troubadours) experimented with literary and cultural definitions of sex and gender in their poetry. They manipulated a very conventional form (a male speaker addressing a distant, silent lady) and invented their own distinctive literary versions of the female voice. Even though it is hard to define, the notion of voice in literary texts is a powerful concept for feminist writers. Title note supplied by Feminae.].

Source: Speculum , 67., 4 (October 1992): Pages 865 - 891.
Year of Publication: 1992.

89. Record Number: 10805
Author(s): Davidson, Audrey Ekdahl.
Contributor(s):
Title : Music and Performance: Hildegard of Bingen's "Ordo Virtutum" [The article analyzes Hildegard's music, and suggests that the “Ordo Virtutum” deserves to be performed before modern audiences. The article includes an appendix discussing British Library Add. MS. 15, 102. Title note supplied by Feminae.].

Source: The Ordo Virtutum of Hildegard of Bingen: Critical Studies. Edited by Audrey Ekdahl Davidson . Medieval Institute Publications, 1992. Speculum , 67., 4 (October 1992): Pages 1 - 29.
Year of Publication: 1992.

90. Record Number: 10809
Author(s): Iversen, Gunilla.
Contributor(s):
Title : Ego Humilitatis, Regina Virtutum: Poetic Language and Literary Structure in Hildegard of Bingen's Vision of the Virtues [The author discusses the metaphorically rich poetic imagery of Hildegard's lyrics, comparing them to her music. Title note supplied by Feminae.].

Source: The Ordo Virtutum of Hildegard of Bingen: Critical Studies. Edited by Audrey Ekdahl Davidson . Medieval Institute Publications, 1992. Pages 79 - 110.
Year of Publication: 1992.

91. Record Number: 9466
Author(s):
Contributor(s):
Title : The Marriage of Edward III and the Transmission of French Motets to England

Source: Journal of the American Musicological Society , 45., 1 (Spring 1992): Pages 1 - 29.
Year of Publication: 1992.

92. Record Number: 10013
Author(s): Pfau, Marianne Richert.
Contributor(s):
Title : The concept of Armonia as a key to the antiphons in Hildegard of Bingen's Symphonia [The article stresses the importance of musical setting inunderstanding Hildegard‚s poetic imagery. Title note supplied by Feminae.].

Source: Medieval Perspectives , 7., ( 1992): Pages 154 - 170.
Year of Publication: 1992.

93. Record Number: 10661
Author(s): Davidson, Audrey Ekdahl.
Contributor(s):
Title : Another manuscript of the "Ordo Virtutum" of Hildegard von Bingen [The author provides a breif note on a manuscript copied in fifteenth century Germany probably by a monk at the monastery of Sponheim. Davidson includes two musical examples showing the words and music from both the Sponheim manuscript (British Library Add. MS 15, 102) and the twelfth century Wiesbaden manuscript (Wiesbaden, Hessische Landesbibliothek, MS 2).]

Source: Early Drama, Art, and Music Review , 13., 2 (Spring 1991): Pages 36 - 41.
Year of Publication: 1991.

94. Record Number: 10657
Author(s): Sharpe, Richard.
Contributor(s):
Title : Words and Music by Goscelin of Canterbury [The author suggests that Goscelin of Saint-Bertin wrote the life of Saint Mildrith found in MS Harley 3908 along with the readings and chants that served as the liturgy to celebrate the translation of her relics and the commemoration of the Saint's day. Title note supplied by Feminae.]

Source: Early Music (Full Text via JSTOR) 19, 1 (February 1991): 94-97. Link Info
Year of Publication: 1991.

95. Record Number: 10977
Author(s): Lowinsky, Edward E.
Contributor(s):
Title : The Goddess Fortuna in Music: With a Special Study of Josquin's "Fortuna dun gran tempo" (January 1945) [The author suggests that the musical principles of "mutare" (tonal change or transposition) used in "Fortuna dun gran tempo" reflect the themes of instability and mutation embodied by the personified Goddess. Title note supplied by Feminae.].

Source: Musical Quarterly (Full Text via JSTOR) 75, 4 (Winter 1991): 81-107. Anniversary Issue: Highlights from the First 75 Years. Link Info
Year of Publication: 1991.

96. Record Number: 10696
Author(s):
Contributor(s):
Title : Two Hymeneal Compositions: Reflections of Fifteenth-Century Ecclesiastical Diplomacy [The author argues that the two songs written to celebrate the marriage of Cleophe Malatesta da Pesaro with Theodore II Palaiologus, Despot of the Morea, in fact serve as a failed attempt to solidify diplomatic relations between the eastern and western branches of Christendom. Title note supplied by Feminae.].

Source: Explorations in Renaissance Culture , 17., ( 1991): Pages 87 - 108.
Year of Publication: 1991.

97. 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.

98. Record Number: 12810
Author(s): Rosenn, Eva.
Contributor(s):
Title : The Discourse of Power: The Lyrics of the Trobairitz

Source: Comitatus , 21., ( 1990): Pages 1 - 20.
Year of Publication: 1990.

99. Record Number: 12700
Author(s): Fabianski, Marcin.
Contributor(s):
Title : Federigo da Montefeltro's "Studiolo" in Gubbio Reconsidered. Its Decoration and Its Iconographic Program: An Interpretation [The series of painted panels in a duke's study, attributed to fifteenth century painter Joos van Gent (also known as Justus of Ghent or Giusto da Guanto), depict men kneeling before female personifications of the Liberal Arts. Although the exact attribution, purpose, or arrangement of the panels is unknown, the author suggests a team of artists was instructed to follow a program of iconography of the Arts and Virtues, with revisions to the program (including the inclusion of a duke's likeness and an oration scene) made at the request of the patron. Title note supplied by Feminae.].

Source: Artibus et Historiae , 11., 22 ( 1990): Pages 199 - 214.
Year of Publication: 1990.

100. Record Number: 11212
Author(s):
Contributor(s):
Title : Women and Music in Medieval Europe [While women in barbarian cultures sometimes had a stature that equaled that of men and education for women included some musical training, women’s formal participation in the musical arts declined as Roman culture spread. Music as rhetoric was considered part of elementary education and the philosophy of music was an important branch of the liberal arts curriculum, but universities were closed to women in the Middle Ages. Although most women did not have access to formal education in music, many women still participated in minstrelsy (a barbarian art) and the performance of plays. Some noteworthy women composed lyrics and music as well, including the trobairitz (women troubadours) and Hroswitha, a playwright who was also a poet and musician. Title note supplied by Feminae.].

Source: Mediaevalia , 14., ( 1988): Pages 1 - 21. 1991 (for 1988)
Year of Publication: 1988.

101. Record Number: 23295
Author(s):
Contributor(s):
Title : Early 15th-Century Polyphonic Settings of Song of Songs Antiphons [The popularity of the Song of Songs in the Middle Ages has ties both to the cult of the Virgin Mary and to courtly love. The bodily imagery of the text could be applied to a spiritual or a carnal beloved. Dialogues between loved and beloved promoted the composition of duet passages in motets on the Song of Songs. When Psalm settings began to predominate in liturgical compositions, the Song of Songs became a source for passages in the more secular chanson-motets. Title note supplied by Feminae.]

Source: Acta Musicologica , 49., 2 ( 1977): Pages 200 - 227.
Year of Publication: 1977.

102. Record Number: 28814
Author(s):
Contributor(s):
Title : April: Triumph of Venus

Source: http://upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Aprile%2C_francesco_del_cossa%2C_06.jpg/250px-Aprile%2C_francesco_del_cossa%2C_06.jpg
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103. Record Number: 30922
Author(s):
Contributor(s):
Title : Paradiesgärtlein [Little Garden of Paradise]

Source:
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104. Record Number: 30927
Author(s):
Contributor(s):
Title : Liberal Arts of the Quadrivium

Source:
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105. Record Number: 30928
Author(s):
Contributor(s):
Title : Seven Liberal Arts

Source:
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106. Record Number:
Author(s):
Contributor(s):
Title : Dancing

Source:
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107. Record Number: 30963
Author(s):
Contributor(s):
Title : Wedding Scene (?)

Source:
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108. Record Number: 32148
Author(s):
Contributor(s):
Title : Jewish couples dancing together at a wedding to the accompaniment of musical instruments

Source:
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109. Record Number: 36267
Author(s):
Contributor(s):
Title : Muslim women playing chess

Source:
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110. Record Number: 40969
Author(s):
Contributor(s):
Title : Singing nuns

Source:
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111. Record Number: 40970
Author(s):
Contributor(s):
Title : Mermaid (detail) (Image #1) from Neptune (Image #2)

Source:
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112. Record Number: 41067
Author(s):
Contributor(s):
Title : Religious woman dancing while a friar "plays music"

Source:
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