Midterm (Women and Music)

Salon

A regular gathering of distinguished guests; in music, often references a formal performance at a patron's residence, palace or castle.

Musicology

A study that is the combination of sociology and music.

Francesca Caccini

Both parents were Baroque musicians. Her father was a singer. Frst woman to compose an opera and tour. Recognized as a singer even though she was all around musically talented. The Medici family hired her to become a composer and a teacher. Had 17 theatrical works and over 100 works in general. At one time she was the court's highest paid musician. Got to sing for the Pope despite the ban on women singing in church. Henry IV wanted Francesca for his court, but the Medici's got her instead. Composed over 200 songs* like Maria Dulce Maria when she was 30. - · From artisan class, both parents were court musicians. Francesca was recognized as a singer before she was known as a composer, One of the first women musicians known to tour, she traveled with her family to France when she was a teen, leading to an impressed Henry IV to asked to have her services. Medici family quickly signed Fancesca instead in 1607. She composed, did copying, and did significant time teaching composition, instrumental performance, and voice to both artisan-class students and children of her patrons. o Composed at least 17 theatrical works and hundreds of chamber music works, only a small fraction of her music survives today though. At one time she was the court's highest paid musician

Morality Play

First ever written was by Hildegard Von Bingen. This was a show based off of virtue, and powerful women showing faith to God.

Publish or Perish

If women did not publish her music through the church, her music would be forgotten. · The musical work of women in the public sphere is harder to find in recorded history. In public venues, women were historically excluded and were frequently barred from attaining the education they needed to create music that was typically performed in formal settings Women who did attempt to participate professionally often found that their work could not be published. Since Western culture has relied heavily on printed preservation of music as a means of transmitting knowledge to the next generation, the musical work of women was lost. - o The voices of women who took religious vows did find a place in the public sphere when written music was distributed beyond the convent, and when bystanders outside of the cloistered walls "overheard" the music being performed inside. Although women religious (nuns) were literally hidden from public view, their music escaped the bounds of the convent.

Court Culture

In castles, nobleman/ wealthy homes. Hire musicians to come play/ sing. Was a way for women to be educated, secular music was very popular here. All performers were commoners, women of less nobel background could perform based on musical ability. Court performers were the best educated women of all time, they were able to study poetry (these were courteseans). Men were troubadours.

Text Painting

In texted works, using musical gstures or elements to reflect movement and emotion in the text. When the words compliment music. Common in the Baroque period.

Hildegard Von Bingen

Period: Medieval (1100-1179) Info: German nun who was made a Saint in 2012. · . She was a poet, mystic, artist, scientist, and musician. 10th child in the family, turned over to the church at age 7, and lived in a dark and colorless cell in a convent for many years. She actually said she had visions from God - and told the church that al her artwork and music was from God. Hildegard wrote for women's voices to be singing, and broke compositional rules all the time. - o She was a herbalist was discovered herbs as well as medicine. Likewise she wrote the very first morality play: which is a show based off of virtue, and powerful women showing faith to God. She would often get severe migranes which led to her visions. - o Eventually become Mother Superior and was really the first women liber. - o She was brilliant and went to the Pope to get permission to spread her gospel. Ended up being banished from church and banned from playing her music. Died in 1179 in her 80s.

Famiglia Medici

Pops bankers, businesspeople, royalty in Florence. Very active during the Renaissance period. Isabella Medici sponsored her - Access of publication through nobility. Financed a lot of the art/ music in Florence. Sponsored Caccinin, Cassulana, etc. - Family of Florence, Italy. Rose to tremendous power by the fifteenth century, attaining immense wealth and influence in Florence's international banking industry. The family produced several popes and numerous cardinals, and subsequently commissioned artwork for the church, sponsoring artists like Michelangelo and Leonardo DaVinci .

Baroque Music Qualities

The music in the Baroque period was very ornate, overdone will frills and very religious. There was a larger orchestra with flute, lute, harp, and 10-20 instruments. Start of the opera and counterpoint (a lot of melodies at once). Opera came about in full length - also included counterpointing which s more than one melody happening at once. There was text painting - very common and the text was connected to the music. Aesthetics, appealing to emotion/ senses, point was to bring listener to tears. - The Baroque aesthetic was one of emotion, irregularity, and energy. In theatrical terms, the era saw a shift in modal to tonal systems, and an increased use of chordal harmony Consonance and disconsonance were purposefully controlled to express aesthetic nuance. Musicians were expected to elaborate on melodies as they performed against the backdrop of bass lines that harmonically guided performance in a manner not unlike blues improvisation. - o Baroque vocal music linked music and text to stir the passions of the listener. Text and emotion literally rose as one out of the body of the singer, and because singing was an act that required physical execution, it rested well in the female sphere.

Renaissance

Time Period: 1400-1600 Info: Literally means "rebirth." Took place in Europe from 1420-1600, and encompassed philosophical thinking that looked to classical antiquity for inspiration, particularly the culture of ancient Greece. Human values, reasoning and scientific discovery informed the dominant philosophy of the period known as humanism. Humanistic thought was reflected in multiple artistic areas, ranging from visual art and architecture to music. - · Time about new appreciation for arts, and new discovery. People began to think for themselves and question things. Wealthy men were now educated, etc. Philosophy, government, and religion were all really popular. Men started to ask why and how questions. Humanism arose (why do we act the way that we do?). There was no middle class, but there was a Reawakening. Society was comprised of Nobel people vs. Commoners. Court culture was very popular which occurred at the center of the castle or wealthy home. Music contained a lot of woodwind and string instruments that were delicate. All performers in the court were commoners, women of less noble backgrounds were able to perform based on musical ability which was new. - o This was the beginning of secular music - so it was not always for God o Rebirth/ New Birth and everything was turned to color. Food tasted better, music became joyful, art for the sake of enjoying art.

Classical Era

Time Period: 1750-1820 Info: Marks the beginning of the Enlightenment and the rise of the middle class, in reality much music of this era was funded by privileges aristocrats and the nobility. Italian vocal influences merged with extraordinary wind playing from Germany. - The heart of music during this time was in Vienna Austria. Western art music. Birthed Beethoven, Hanz, etc. The Vienna Philharmonic was a big part of this. Women were musicians and organizers, began to perform in salons as well. Beginning of the enlightenment (heightened) Rise of the middle class. We were seeing music funded by privileges, aristocrats, nobility. Larger scale orchestras become popular - one clear melody or voice: clarinets, bassoons, etc. The sonata form was developed, less ornamental. Lots of dynamics, loud to soft. Music was much more normal than the Baroque period

Romantic Era

Time Period: 1800-1870 Info: More families started educating their daughters and sons, rising middle class and more music education. More places for women to perform, still not acceptable for women to go out in public - every era it gets better. Strong literary and artistic movement for themselves, not just commissioned, writing what they feel along with the commission. There was a strong fascination with nature and nationalism. Musicians of this time were Chopin, Brahms, etc. Males mostly - ideal composer is still a white man. Women are still very much considered inferior - no integration in society. Only for procreation told to do no arts. A lot of hate and degradation of women here. - Romantic-era composers often produced music with melodic and extra-musical components that proved in many ways more accessible to the less musically educated masses than the form-based works of the Classical style. Despite widening inclusiveity in art music, however, the religious, moral and cultural mores of the Romantic era made it difficult for women to enter the public musical arena. The Romantic ideal of the individual genius, which included the "great composer" notion was deciededly male. - o Romanticism was a nineteenth-century literary, artistic movement that was an ideal venue for musicians to explore. Visual artists, philosophers, and musicians espoused and expressed the Romantic ideals of freedom , equality, and fraternity in their work. Emotional thinking was present, and artists were often emotionally connected to their work. There was a fascination with nature in both beautiful and destructive forms, in which romantic composers would express people struggling against the environment. Nationalism was evident as well. Musically, the form-driven balance and poise of the Classical era gave way to less strict formal structure. Extra-musical stories and programs often accompanied a musical work, sometimes demoting music from this era to a lower status in the eyes off musicians wh valued the formal construction of the Classical style. By the same token, the emotional connection between composer and music, and its ubsequent transmission to the audience, has made romantic era music extremely popular among consumers of art music.

Libby Larsen

Time Period: 20th century Info: · Libby Larsen's Missa Gaia (Mass for the Earth) is a good example of 20th century mass that bows to the traditional canon, but displays an inclusive spirituality reflective of its historical time-period. Other than traditional Latin titles from the Mass, the remaining text, in English avoids traditional liturgical language entirely. Larsen takes her lyrics from a variety of sources. All of the movements in Mass for the Earth are textually unified, as they focus on the relationship between individuals and the earth. Like the work as a whole, it is clear that Larsen presents clear lyrics that are sustained by appealing melodic and harmonic language. - This song is supposed to represent natural/ baroness of Earth. Had polyrhythms, sounds of animals, change in dynamic and density, this was the one with the Obo solo. From America.

Barbara Strozzi

Time Period: Baroque (1619-1677) Info: Her father was a member of the academy (men's group of intellectuals who talked about arts, philosophy, etc.) Also, a publisher and wealthy taught her to sing and compose. Sang for men in the academy (women still couldn't perform in public). She had 8 volumes of songs printed - most published in the Baroque period. She possibly gave sexual favors to these men, was very talented though which is why she was published. Her father was almost an artist. - Lived in relative seclusion among the secretive male world of the academy, a group of intellectuals that met privately in homes to discuss and debate philosophical issues, politics, and literature. Born in Venice, her father was a member of the academy. He had strong musical influence on her and built her as a composer and singer. She was eventually adopted into the academy as well which linked her to the courtesan culture of Venice. Started to perform for the men of the academy as a young teen, as she had a rare vocal talent. Printed 8 volumes of songs - making her one of the most published composers of her time (male or female). Has over 100 solo vocal works to her credit and wrote more secular cantatas than any other composer of her era. - o Her cantatas were secular soo works that highlighted poetic texts via melismatic melodies, melodic sequences, and rhythmic shifts. Se is considered a link between the early and middle Baroque in terms of formal constructs, being one of the first composers to place both recitative and aria within a single solo work.

Isabella Leonarda

Time Period: Baroque (1620-1704) Info: · At age 16, then, Isabella entered the convent of Santa Orsala (Ursala), henceforth to be known as Leonarda. It is possible, though not proven, that Gasparo Casati, master of music at the Novara Cathedral, was her teacher in music. At any rate, in 1640, Casati organized the first publication of music written by her, in a volume otherwise devoted to his own music. She composed throughout her life and from the 1670s on, her music was regularly published, to a total of 20 volumes. She was, in addition, a very successful nun, eventually rising to the rank of Mother Superior for her convent and then becoming a Regional Counselor for the Ursalines. She died a few years into the new century, mostly likely in 1704.

Elizabeth (Claude) Jacquet de la Guerre

Time Period: Baroque (1665-1729) Info: Born to a musical artisan-class family that boasted harpsichord builders, performers, and teachers. Her ability to perform and improvise on the harpsichord was so fantastic that she caught the attention of Louis XIV and his mistress when she was only 5 years old (Elizabeth). She was essentially a child prodigy. Created a five-act opera which was the first work by a woman performed at the Paris Opera. She also wrote biblical cantatas. She was the only French composer to publish sets in both the seventeenth and eighteenth centuries. - · French, sponsored by Louis XIV who lived in Versailles at the time. There were 200 musicians employed and she was born into a artisan and musical family. Her father invented the Harpsichord company. She was a child prodigy and caught the attention of the kings mistress. She was published at age 20, and wrote a 5 work opera - first one by a woman performed at the French Opera House. o A Harpsichord = strings plucked not piano but similar. The music with this instrument were ornamental and overdone.

House of Habsburg

Time Period: CLassical (1761-1839) Info: One of the most powerful royal houses of Europe (like the Medici family of Italy). Its female members were passionate music sponsors. Pointed to as the musical "paymasters" of Classical Vienna

Maria Anna Mozart

Time Period: Classical Info: Older sister to Mozart, was called one of the most skilled piano players in Europe. She was his early duet partner as well. They toured extensively throughout Europe together. However once she was older her father forbid her to continue to play music as he believed that women should not perform in public. She spent her remaining days teaching piano lessons. - · Performed Sacred and Secular music - as well as orchestral pieces.

Maria Theresa Von Paradis

Time Period: Classical Info: Renound performer and composer. Had 11 daughters (one was Marie Antoinette). Born in Vienna and lost her eyesight at age three. Was so exceptionally talented musically that Empress Maria Theresa offered her a yearly stipend for music and general education. Completely memorized over 60 concerti. She became a leader among women in the new arena of public concert. Performed at salons as well as for the growing middle class in public venues as well. She has a three-eyar multinational tour of Europe, all but one of her larger scale works was lost. Stood and still today stands as a leader in music education for girls as she established and taught at her own music school. - Before she was 22 wrote 4 masses, debut at 16.

Weber Family

Time Period: Classical Info: · Prominent musical family in Europe, had four daughters all f whom were musical. Their second eldest daughter, Aloysia was considered the most talented among the sisters as a virtuoso, pianist, and her employment determined where the family live. This is why the family moved to Vienna when she was just 19 and hired to perform as an Opera singer, within a month of the move, the father died, which solidified Aloysia as the financial provider of the family. Mozart wrote a bunch of music for the sisters. Mozart eventually married Constanze, who after his death, became Mozart's primary promoter.

Empress Maria Theresa

Time Period: Classical Info: Empress, under he rule, Vienna became capitol of the music world. All opera houses, performing spaces sponsored by her. Beautiful concert halls/ places to play built by her. Supported women like Maria Von Martines. - She established Vienna as the music capitol of the world during the Classical period. She had a 40-year reign and brought influences that ranged from the hiring of outstanding court composers, to the creation of performance spaces, the sponsorship of women musicians. She also created performance spaces that had a lasting impact on the city. She was both audience and Sponsor for numerous musicians like the Mozart's

Marianna Von Martines

Time Period: Classical (1744-1812) Info: Austria's most productive women composer, and an important concert sponsor as well. Born in Vienna, she was connected in many ways to Vienna's "elite" and was deeply involved in Viennese musical activities. Served as hostess in her own salon, was a guest and performer at others, and wrote over 200 works about 70 survived. Composed larger-scale works, was an outstanding keyboardist and singer as well. Her fame soared beyond Austria. Also was the first woman accepted into the Prestigious Academia Philharmonic of Bologna, Italy. Eventually became a concert sponsor, her salon became a leading gathering place within a musically stellar city, her home opened weekly for guests who listened performed , and connected with one another - Wrote for the orchestra and masses before she was 22. Wrote many masses. Salon at her house, largest performance place in city.

Nannette Streicher

Time Period: Classical (1769-1833) Info: Her father was a piano builder who created foot pedals on the piano (helps you hold out notes longer) and the forte piano. She began working for her father at age 7, and by the age of 10 was making parts, tuning, regulating keyboards, and actions, and voicing pianos. Took over the business when her father died in 1792 and was only 23 years old. Eventually moved the piano manufacturing business to Vienna in 1794, and with the help of her husband and son built one of the most important piano factories in Europe, contributed significantly to the rapid development of the piano, as well as considered influential with her work with Beethoven. Beethoven borrowed many instruments from their workshop and it is said that he wrote many of his works on their insturments. In 1814 created a six-octave fortepiano and in 1816 produced a six and a half octave fortepiano for Beethoven especially. Approximately 8600 instruments crafted. She was also a prodigy piano player giving her first public recietals at her family shop at age 5.

Teresa Von Trattner

Time Period: Classical Period Info: One of Mozart's advanced piano students. He dedicated a sonata to her, and was one of several woks that he wrote for gifted women in the city. Not only did Trattner's money contribute t Mozart's dream of continuing his work as a freelance artist, but her ability at the keyboard ultimately dictated the technical demands of the challenging and highly regarded sonata (dedicated to her). Noblewomen who was a frequent sponsor of musical gatherings, supplying venues, audiences, and funds in a city where public concerts had not yet fully developed. - 80% of Mozart's income was made from these Salon concerts

Regina Strinasacchi

Time Period: Classical Period Info:Renound Italian violin virtuoso and composer, inspired one of his works which they eventually performed together in Vienna.

Sofia Gubaidulina

Time Period: Medieval (middle ages) Info: Russian composer by birth, spent much of her life working under the Soviet regime, surrounded by the artistic limitations of communism. Not unlike the confines of Hildegard's convent, her wors were developed within a restricted environment that could not contain the expression of her deep spirituality. Her most innovative music lies in the field of art music, where she expresses spirituality in dissonant harmonic language that is quite the opposite of Larsen's accessible modernism. - o Studied piano and composition at the Kazan conservatory, and received a graduate xomposition degree from the Moscow conservatory. Her compositional style is formally somplex and highly symbolic, and she aligns her work with that of J.S. bach in regard to connecting structure to personal spirituality. She frequently uses the quarter-tone as a metaphor of an image and tis shadow. In spiritual terms, the metaphor might represent good and evil, life and death, or the human an the divine. - o Seven Words a work that meditates on the seven final phrases that Christ speaks while dying on the cross. Taken from the 4 gospels of the New Testament.

Duke Afonso D'Este

Time Period: Renaissance Info: Found the concerto Del Donne (women singing group) in 1580. As official ladies in waiting to the duchess their presence was both acceptable and within a well-established court-based tradition. It was apparent that the Duke made several concessions to protect his singers from negative associations. These women performed works by male composers and their audience was carefully selected. Documents show that the women appeared regularly in sessions called musica reservata (or music secreta), a chamber music setting only open to invited nobility that featured intensely expressive performances. To separate the women from courtesan's Duke made sure that the women were provided dowries and were properly married to nobles.

Maddalena Casulana

Time Period: Renaissance (1500s) Info: Virtuoso singer of the second half of the sixteenth century, Maddalena Casulana (1540-1590) was referenced in print as both "muse" and "siren," terms strongly linked to Courtesan culture. The concept of women singing in public was new, and the technical ability and powerful sound of vocalists such as Casulana placed them in special danger of social disconnection. Cassulana's work as a composer, however, suggests that she may have attempted to overcome that image. She is known in great today partially because of her connection to the Medici family, particularly her sponsor, Isabella de Medici, and her subsequent access to publication. Wrote madigals with four and five-voice parts, with alteration between polyphonic and homophonic textures. - : Referred to as a siren. Sponsored by the Medici faily - she was paid by them, etc. Wrote Madrigals which were vocal pieces with at least three voices singing. She wrote with four to five voices. Spoke about equal women and had music with much more complex ad intricate rhythms. Played in Munich, and was a teacher of composing, possibly had the first music printed by a woman. Didn't want her music to be sexually aggressive.

Fanny Medelssohn

Time Period: Romantic (1805-1847) Info: · Eldest child born into the Mendelson family in Berlin. Her grandfather was a famous philosopher. She was given superb music and general education like her brother Felix. Both Felix and Fanny composed progressive romantic era works that reflected technical skills of well-educated composers. Both brother and sister were child prodigies and shared many of the same musical opportunities. The both composed a significant number of works and often critiqued each other's work. Felix considered her his superior saying that she was one of the best pianists of their time mal eor female (even though many books often refer to her as inferior musically. While Felix toured Europe and became famous, it was worried that her pursuit of music as a women would have compromised her families social position, so she fell into her expected domesticated role. She did however continue to write music, composing over 400 works in her short lifetime. Many of her works were actually published in Felix's name as well, which was clear as he often was critiqued for being too feminine in his works. o Queen Victoria performed one of Fanny's songs in 1842 and she naturally assumed it was Felix's he ended up admitting that is was really Fanny's. o Died at age 41 from a stroke

Clara Schumann

Time Period: Romantic (1819-1896) Info: · Wife of Schumann, some info for her is from primary sources like diaries. She was a child prodigy on a piano. Ended up marrying Robert Schumann who was also a composer. Actually had a big career in her lifetime. Her father was a piano teacher - would parade her around to get piano students, mother also taught piano. Secured income for the family by touring a lot. In Robert's mind there were no gender barrriers. Performer by 11 touring by 12, 16 widely known as pianist, courage by father to continue music. Robert was a piano student of her father - heard Clara play, really good - moved in with the family, 10 years older. Eventually fell in love - Robert asked hand in marriage, turned down - too young, loose income. Ran off and eloped on her 21st birthday. She had eight children in ten years. 139 concerts in 14 years of marriage, even touring Russia. Struggle with being a mother versus her career, she was 35 when Robert died. Performed for over 60 years, 38 foreign tours. One of the greatest piano players of that era - better known as a composer because we obviously can't hear her play. She was also a music editor for Chopin and Brahms.

Nature v. Nurture

Were people born musically talented (their nature) or was it brought about by their surroundings/ families. (Nurture)

Troubaritz

When the noble women sang back/ fell in love with the troubadour. Example: Countess Beatriz de Dia.

Mass v. Office

o The Mass and the Office are two major liturgies of the Roman Catholic church. They have also been set to music for centuries and are often performed as concert works that are not intended for worship. The terms are capitalized when referred to in liturgy and are not capitalized when referred to as musical genres. - o The Mass = the Mass is a liturgical celebration of Christ's last supper. In today's practice, the readings and prayers are usually spoken, but Mass texts were primarily sung for centuries. Parts of the Mass are divided into the Ordinary and the Proper. Ordinary text settings remain constant throughout the church year, whether a feast day or not. They include Kyrie, Gloria, Credo, Sanctus, and Agnus Del. Proper text settings change to reflect feast days and specific Sundays in the church calendar. Although the Mass is still a primary liturgy of the Church today, the mass also became a non-liturgical musical genre. Many of the world's most famous composers have written masses that were never intended for liturgical use, but that nonetheless utilize traditional text settings. - o The Office = In the medieval period the eight office hours were literally performed around the clock. The list that follows is one version of the hours and the times at which they were performed. In today's practice, the Office is performed with a much more flexible schedule. - § While women were musically excluded from the Mass, they wrote and performed music for the Office. The Office was influenced by the Jewish tradition of sung prayer throughout the day, and included a daily schedule of psalm singing, scripture readings, and short accounts of the lives of St. Canon law permitted women to sing in their own religious communities, and since the Office did not forbid them performing necessary liturgical functions, many performed in the Office daily.

Ordo Virtutum

· : Means play of the virtues, Hildegard's first morality play (medieval drama in which moral attributes are personified and dramatized). Story of Anima, or soul, and its struggle to resist evil. All parts of Ordo were sung by women representing the Virtues, allowing women to play the role of leading the faithful to God - a most unusual gender portrayal at that time. The devil is represented by the lone male voice in the play, and the fact that he speaks rather than sings is further depiction of a lack of connection to God. - o This shows Hildegard's ability to connect to her spirituality with her musical aesthetic. Her view of women as co-creators and source of life links with her textural descriptions of the fruitfulness of nature. The vivid poetry is set to music that is flowing, ornamented, and intended to showcase the female voice. It was music that stood in sharp contrast to liturgical chant that was created by male composers educated by medieval church. - o a morality play that personifies virtue such as humility, hope and innocence as they assist the soul in her fight against the devil. The virtues and the soul sing their parts while the devil can only speak. The work performed in Latin. The author has paraphrased the content (below) in English. Modern performers musically interpret the play in a variety of ways.

Baroque

· Baroque means "regular pearl". Many more women, sisters, wives, and daughters of popular male musicians were musically inclined. Everything was overdone and ornate in this period (music, art, buildings). Like the next level Renaissance music was dense, more religious. There was a slightly larger ensemble - Opera came about in full length. Counterpoint - more than 1 melody happening at once. Text-painting: common, connecting text to music. There were a lot of melisma's which is basically one word sung at different pitches. o Bach was during this time - there was also a growth of rich people (more) many wealthy families. Women still employed as court musicians. Also was the time of science, Newton and Gravity, etc. o A lot of asthetics, looks pleasing, appealing to emotion/ senses, point was to move listener to tears. Became one mood per musical piece. Women however, still couldn't sing at a traditional mass. o Everything was overdone, churches were dripping in gold - music was more religious and had frills. Larger orchestration Lute, flute, harp, and 10-20 instruments. It was the start of opera and counterpoint ( a lot of melodies at once).

Geisha

· Courtesan of the Japanese tradition associated with performance of traditional Japanese art forms such as song and dance. Originally, they would perform Zen breathing and flute performance, and the imperial court honored female performers who they believed capable of communicating with gods and spirits. These women enjoyed special privileges as a result of their skill. They were allowed to travel and did not have to pay taxes. The women eventually formed independent households that were financially supported by the emperor. With this support, they became increasingly autonomous. Any were mothers of high-ranking ministers. o Thirteen century samurai viewed female court performers differently, however, and considered them sexual labor for commercial exploitation. With military might, the samurai took political control over the emperor and one consequential change was a restriction of female entertainers to a designated, licensed district. As a result, women lost political power, and economic independence. o Two classes of entertainers were licensed by the ruling powers, including one class for prostitution. The artistic entertainers, however, received a separate license in acknowledgment of their differentiated role. Still, their placement in the district brought a lasting connotation. In addition artists eventually subdivided into various ranks, especially as financially unstable families sent their daughters to the district. The line between entertainer and prostitute was further blurred, even among performers who came to be called geisha. Higher class geisha, with superior artistic skills and training, were far less likely to engage in prostitution than were the uneducated, who had little choice.

Troubadours

· Men performers of the court. They would sing love songs to nobel women. The romantic love song was born and birthed a lot of unattainable relationships. - While others traveled and performed their creations, they perfected the art of composition, delivering their poetic verse through musical recitation. The romantic-poetic love song was born, and the concept quickly spread to other European areas. Audience included the lord and his peers. His wife and her attendants, and others who resided in the court. Courtly love was the subject of most troubadour songs, an expression of unattainable "worship from afar' that was to be met with rejection by the lady. The knigh would in turn reply that he was "ding" from lack of returned affection.

Courtesan

· Women performers of the court. Were able to perform based off musical ability. These women were glamourous and desirable, also considered suspect by rich women. Called sirens and were looked down upon. Women however could ony play proper instruments for their gender - flute, etc. Delicate instruments. Glam, desired and feared. Tension between noblewomen called them sirens (half women- half animal) flirt with men