Innovative and collaborative in its approach, this volume engages with the question of how gender informed song within particular textual, social and spatial contexts in sixteenth- and seventeenth-century England. In its attention to the gendering of song and the gendered processes and spaces of song's circulation and reception, it interrogates the literary and cultural significance of song for early modern readers, performers and audiences.

Leslie C. Dunn is Associate Professor of English at Vassar College, USA. Katherine R. Larson is Associate Professor of English at the University of Toronto, Canada.

Introduction, Leslie C.Dunn, Katherine R.Larson; Chapter 1 Performing Women in English Books of Ayres, Scott A.Trudell; Chapter 2 Witches, Lamenting Women, and Cautionary Tales, Sarah F.Williams; Chapter 3 Listening to Black Magic Women, JenniferLinhart Wood; Chapter 4 "Better a Witty Fool Than a Foolish Wit", AngelaHeetderks; Chapter 5 Dangerous Performance, AmandaEubanks Winkler; Chapter 6 Making Music Fit for Kings, Joseph M.Ortiz; Chapter 7 Unimportant Women, Tessie L.Prakas; Chapter 8 Domestic Song and the Circulation of Masculine Social Energy in Early Modern England, Linda PhyllisAustern; Chapter 9 Song, Political Resistance, and Masculinity in Thomas Heywood's The Rape of Lucrece, Nora L.Corrigan; Chapter 10 Music for Helen, ErinMinear; Chapter 11 The Use of Early Modern Music in Film Scoring for Elizabeth I, KendraPreston Leonard;