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5.2.1 Ahi possanza d’amor Figure 5: Ahi possanza d'amor 49
Figure 6: Ahi possanza d'amor (Continued) 50
Page 1 and 2:
CLAIMING VOICE: MADALENA CASULANA A
Page 3 and 4:
Copyright © by Samantha Heere-Beye
Page 5 and 6: that reveals her own voice amid the
Page 7 and 8: LIST OF FIGURES Figure 1: Morir non
Page 9 and 10: the sexual imagery and innuendo tha
Page 11 and 12: otherwise) cannot be deduced by sim
Page 13 and 14: subject for a feminist inquiry. Thr
Page 15 and 16: 2.0 RENAISSANCE BODY IDEALS Renaiss
Page 17 and 18: heated through friction against the
Page 19 and 20: 3.0 BIOGRAPHICAL INFORMATION Detail
Page 21 and 22: desiderio, printed in 1567, followe
Page 23 and 24: as far as today’s scholars can de
Page 25 and 26: courtier’s most important asset,
Page 27 and 28: musical friction for him—on comma
Page 29 and 30: somewhat ironically, more like the
Page 31 and 32: 5.0 MUSICAL ANALYSIS This section e
Page 33 and 34: exist, through the music and poetry
Page 35 and 36: Figure 2: Morir non può il mio cuo
Page 37 and 38: esistance against that climb, the l
Page 39 and 40: Arcadelt’s “Il bianco e dolce c
Page 41 and 42: cadential evasion in the lower voic
Page 43 and 44: 5.1.2 Morte - Che Vôi? - Te Chiamo
Page 45 and 46: Another piece dealing with this con
Page 47 and 48: Aquilano’s poem, “Morte - Che v
Page 49 and 50: cadence on D in order to set up the
Page 51 and 52: pitch associations. The outer voice
Page 53 and 54: Assigning a particular semantic mea
Page 55: ased on a poem by Francesco Petrarc
Page 59 and 60: throughout the piece. Finally, thro
Page 61 and 62: The final section of “Ahi possanz
Page 63 and 64: Figure 8: Gran miracol d'amore (Con
Page 65 and 66: particularly emphasizing the differ
Page 67 and 68: within the tranquility of a meditat
Page 69 and 70: for unity between men and women, or
Page 71 and 72: BIBLIOGRAPHY Berger, Karol. Musica
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