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6.0 CONCLUSIONS
Through this analysis of Madalena Casulana’s world, musical and philosophical heritage, and the
musical devices with which she expresses her unique voice, we find that an inquiry into how
Casulana’s individual and gender-specific identity is encoded into her works. Rather than
relegate ourselves to stereotypical signs or symbols of traditional gender associations, or insist
that feminine gender identity be present as the opposite of traditional or male gender identity in
music, we have embraced a multiplicity of identity and gender markers gleaned from an
investigation into Casulana’s life, words, cultural and musical heritage, and her works.
Casulana’s stated desire to reveal the “conceited error of men,” is clearly shown in her
works in several different ways. Her sensitive and intelligent settings of philosophical texts
reveal her training in the classics and her knowledge of the rhetoric and innuendo of the madrigal
literature. Her compositional style, through intricate application of imitation, homophony,
colorful harmony, and word painting, reveals training in musical technique as well as individual
skill and creativity. Finally, her manipulation of her many skills, in text and music, articulates
her desire for equality with men, either through depicting the consequences of non-cooperation,
as in “Morir non può il mio cuore,” or emphasizing the state of unity between lovers instead of
the moment of release and detachment, as in “Morte – Che vôi? – Te chiamo,” or through
meditation on the paradox of love and the pleasure of waiting for “death” as in “Ahi possanza
d’amor” and “Gran miracol d’amore.” In all of these ways, whether through explicit exhortations
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