Claire Fontijn (PhD, Duke University) is Phyllis Henderson Carey Professor of Music at Wellesley College. In 2007, she won the Nicolas Slonimsky Award for Classical Music Biography from ASCAP/Deems Taylor for her monograph Desperate Measures: The Life and Music of Antonia Padoani Bembo (2006; 2013). Together with Susan Parisi, she edited Fiori Musicali: Liber Amicorum Alexander Silbiger (2010). Her second monograph is titled The Vision of Music of Saint Hildegard’s Scivias—Synthesizing Image, Text, Notation, and Theory (2013). She has contributed chapters to books on topics ranging from the subjectivity of the Virgin Mary in music (Naomi J. Miller and Naomi Yavneh [eds.], Maternal Measures, 2000), to the chorales of Fanny Hensel and Felix Mendelssohn (Anselm Hartinger, Christoph Wolff, and Peter Wollny [eds.], "Zu groß, zu unerreichbar"—Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, 2007), to opera (Francesco Luisi [ed.], Francesco Buti tra Roma e Parigi, 2009). Her work has been supported by the American Musicological Society, the Andrew W. Mellon Foundation, the Gladys Krieble Delmas Foundation, the National Endowment for the Humanities, and the Woodrow Wilson National Fellowship Foundation.

• Table of ContentsList of Figures with Caption TextsList of ContributorsAcknowledgementsPrefaceNotes from the UndergroundChapter 1. Secret Song and Music in the Visions of Hadewijch of AntwerpLaurence WuidarChapter 2. The Margin is the Message: The Changeable Mise-en-page as signal of Musicking in Nuns’ Liturgical Books in Late Medieval Freiburg im BreisgauCynthia J. CyrusChapter 3. Uncovering the Musical Life of San Donato in Polverosa: Sister Maria Diacinta Paulsanti’s ProcessionalJason StoesselChapter 4. Shaping Female Identity and Agency through Seventeenth-Century French Sacred SongsCatherine E. GordonInterludeChapter 5. Aesthetics of Performance in the Renaissance: Lessons from NoblewomenLaura JeppesenMusic for Royal RivalsChapter 6. Songs for Isabella d’EsteAnne MacNeilChapter 7. Lucrezia Borgia’s VoiceElizabeth Randell UptonSerenissime SireneChapter 8. Representations of Weeping in the Laments of Barbara StrozziClaire FontijnChapter 9. A Delicate Cage: The Life and Times of Andriana della TiorbaEva Kuhn

Claire Fontijn (PhD, Duke University) is Phyllis Henderson Carey Professor of Music at Wellesley College. In 2007, she won the Nicolas Slonimsky Award for Classical Music Biography from ASCAP/Deems Taylor for her monograph Desperate Measures: The Life and Music of Antonia Padoani Bembo (2006; 2013). Together with Susan Parisi, she edited Fiori Musicali: Liber Amicorum Alexander Silbiger (2010). Her second monograph is titled The Vision of Music of Saint Hildegard’s Scivias—Synthesizing Image, Text, Notation, and Theory (2013). She has contributed chapters to books on topics ranging from the subjectivity of the Virgin Mary in music (Naomi J. Miller and Naomi Yavneh [eds.], Maternal Measures, 2000), to the chorales of Fanny Hensel and Felix Mendelssohn (Anselm Hartinger, Christoph Wolff, and Peter Wollny [eds.], "Zu groß, zu unerreichbar"—Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, 2007), to opera (Francesco Luisi [ed.], Francesco Buti tra Roma e Parigi, 2009). Her work has been supported by the American Musicological Society, the Andrew W. Mellon Foundation, the Gladys Krieble Delmas Foundation, the National Endowment for the Humanities, and the Woodrow Wilson National Fellowship Foundation.

• Table of ContentsList of Figures with Caption TextsList of ContributorsAcknowledgementsPrefaceNotes from the UndergroundChapter 1. Secret Song and Music in the Visions of Hadewijch of AntwerpLaurence WuidarChapter 2. The Margin is the Message: The Changeable Mise-en-page as signal of Musicking in Nuns’ Liturgical Books in Late Medieval Freiburg im BreisgauCynthia J. CyrusChapter 3. Uncovering the Musical Life of San Donato in Polverosa: Sister Maria Diacinta Paulsanti’s ProcessionalJason StoesselChapter 4. Shaping Female Identity and Agency through Seventeenth-Century French Sacred SongsCatherine E. GordonInterludeChapter 5. Aesthetics of Performance in the Renaissance: Lessons from NoblewomenLaura JeppesenMusic for Royal RivalsChapter 6. Songs for Isabella d’EsteAnne MacNeilChapter 7. Lucrezia Borgia’s VoiceElizabeth Randell UptonSerenissime SireneChapter 8. Representations of Weeping in the Laments of Barbara StrozziClaire FontijnChapter 9. A Delicate Cage: The Life and Times of Andriana della TiorbaEva Kuhn

Claire Fontijn (PhD, Duke University) is Phyllis Henderson Carey Professor of Music at Wellesley College. In 2007, she won the Nicolas Slonimsky Award for Classical Music Biography from ASCAP/Deems Taylor for her monograph Desperate Measures: The Life and Music of Antonia Padoani Bembo (2006; 2013). Together with Susan Parisi, she edited Fiori Musicali: Liber Amicorum Alexander Silbiger (2010). Her second monograph is titled The Vision of Music of Saint Hildegard’s Scivias—Synthesizing Image, Text, Notation, and Theory (2013). She has contributed chapters to books on topics ranging from the subjectivity of the Virgin Mary in music (Naomi J. Miller and Naomi Yavneh [eds.], Maternal Measures, 2000), to the chorales of Fanny Hensel and Felix Mendelssohn (Anselm Hartinger, Christoph Wolff, and Peter Wollny [eds.], "Zu groß, zu unerreichbar"—Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, 2007), to opera (Francesco Luisi [ed.], Francesco Buti tra Roma e Parigi, 2009). Her work has been supported by the American Musicological Society, the Andrew W. Mellon Foundation, the Gladys Krieble Delmas Foundation, the National Endowment for the Humanities, and the Woodrow Wilson National Fellowship Foundation.

• Table of ContentsList of Figures with Caption TextsList of ContributorsAcknowledgementsPrefaceNotes from the UndergroundChapter 1. Secret Song and Music in the Visions of Hadewijch of AntwerpLaurence WuidarChapter 2. The Margin is the Message: The Changeable Mise-en-page as signal of Musicking in Nuns’ Liturgical Books in Late Medieval Freiburg im BreisgauCynthia J. CyrusChapter 3. Uncovering the Musical Life of San Donato in Polverosa: Sister Maria Diacinta Paulsanti’s ProcessionalJason StoesselChapter 4. Shaping Female Identity and Agency through Seventeenth-Century French Sacred SongsCatherine E. GordonInterludeChapter 5. Aesthetics of Performance in the Renaissance: Lessons from NoblewomenLaura JeppesenMusic for Royal RivalsChapter 6. Songs for Isabella d’EsteAnne MacNeilChapter 7. Lucrezia Borgia’s VoiceElizabeth Randell UptonSerenissime SireneChapter 8. Representations of Weeping in the Laments of Barbara StrozziClaire FontijnChapter 9. A Delicate Cage: The Life and Times of Andriana della TiorbaEva Kuhn