Analysis Of Maddalena Casulana

Maddalena Casulana was a virtuoso singer who was referenced in print as both a “muse” and “siren”, in the courtesan culture. Casulana was considered “new” to the public; as her technical abilities and powerful vocal chords, placed her and all female performers in “special” danger of social disconnection. Although Casulana’s work as a composer, sought to overcome this image; as being a female published composer was rare during the Renaissance, and this was something that she was well aware of and proud of this unique status.
Today she is known in great part because of her connection to the powerful Medici family, particularly her sponsor, Isabella de’ Medici, and her subsequent access to publication. The madrigal, like many other musical genres, changed over time. By the 16th century, it
Since the song is in a minor key, it appears to be quite sad. This madrigal features four voices, which alternates between imitative polyphonic and homophonic textures to accentuate textual meaning. The four main voice types within this song are both male and female; or to be more precise, Soprano, Alto, Tenor, and Bass (SATB).
The imitative polyphonic sections are linked to textual dialogue; while the topic and setting might appear mundane or even somber by today’s standards, many of the words would have originally been understood as sexually suggestive. Casulana was very careful to avoid the over–embellishment of those word; thus, marking the significant difference between her madrigal settings, with that of other composers of the era.
This love song starts out with the female voices singing first, then the males follow; but the male voices are always much quieter, then the females. Sometimes the voices are harmonious, and sing the same lyrics simultaneously; but sometimes they are dissonant, and sung