Anna Kathryn Grau is lecturer and Music & Performing Art Librarian at the University of Wisconsin-Milwaukee. Her published work includes research on gendered voices within Old French motets, it has appeared in Gender & Voice in Medieval French Literature and Song (ed. Katherine Kong and Rachel Golden, University Press of Florida, 2021).Lisa Colton is Professor of Musicology at the University of Huddersfield. Her publications include Angel Song: Medieval English Music in History (Routledge, 2017) and the co-edited book Music and Liturgy in Medieval Britain and Ireland (Cambridge University Press, 2022).

• AcknowledgementsList of Figures, Tables and Music ExamplesNotes on ContributorsIntroduction: Female Authorship, Female Voice, and Female-Voice SongAnna Kathryn Grau and Lisa ColtonPART 1: Ritual Discourse1 The Feminine Voice in the Early Islamicate Courts (661–1000)Lisa Nielson2 Music, Liturgy, and the Discursive Construction of Gender in a Thirteenth-Century Double MonasteryLauren Purcell-Joiner3 A Female-Voice Ceremonial from Medieval CastileDavid Catalunya4 Religious Reform and Liturgical Change in the Fifteenth Century: Chant as Women’s Protest MusicClaire Taylor JonesPART 2: Materiality5 Beyond this Mist: Uncovering Material Multiplicities in Amis, amisRachel May Golden6 Transmission of Female-Voice Motets in Late Thirteenth-Century ManuscriptsAnna Kathryn Grau7 Chants for the Holy Trinity of Barking Abbey: Ethelburg, Hildelith, and WulfhildAnne Bagnall YardleyPART 3: Subjectivity and Emotion8 Handmade Women: The Manufacture of Femininity in the Chansons de femmeHelen Dell9 The Voice of Emotion: Constructing an Identity for the Comtessa de Dia in PerformanceLeah Stuttard10 “Going all the Way with Marot”: Empowerment in the Pastourelle Motet L’autrier m’esbatoie/Demenant grant joie/MANERELisa Colton11 Sexuality, Pedagogy, and Women’s Emotions in Middle English SongsCarissa M. Harris12 “Who cannot wepe come lerne at me”: Voicing Refrains in Late Medieval Passion LyricMelissa TuPART 4: Representation13 A Song from the Mound: The Female Voice as a Repository for Genealogical Knowledge in HyndluljóðAnnemari Ferreira14 Eye, Mouth, and Heart: The Female-Voiced Contrafacta of Can vei la lauzeta moverMeghan Quinlan15 A Musical Letter from Eleanor of Provence to Margaret of Scotland: Patronage as Authorship in the Sequence Ex te lux oriturGillian L. Gower16 Female Voice in the Trecento SongAngelica Vomera17 Saints and Sinners: The Representation of Women in Late-Medieval English CarolsLouise McInnesIndex

Anna Kathryn Grau is lecturer and Music & Performing Art Librarian at the University of Wisconsin-Milwaukee. Her published work includes research on gendered voices within Old French motets, it has appeared in Gender & Voice in Medieval French Literature and Song (ed. Katherine Kong and Rachel Golden, University Press of Florida, 2021).Lisa Colton is Professor of Musicology at the University of Huddersfield. Her publications include Angel Song: Medieval English Music in History (Routledge, 2017) and the co-edited book Music and Liturgy in Medieval Britain and Ireland (Cambridge University Press, 2022).

• AcknowledgementsList of Figures, Tables and Music ExamplesNotes on ContributorsIntroduction: Female Authorship, Female Voice, and Female-Voice SongAnna Kathryn Grau and Lisa ColtonPART 1: Ritual Discourse1 The Feminine Voice in the Early Islamicate Courts (661–1000)Lisa Nielson2 Music, Liturgy, and the Discursive Construction of Gender in a Thirteenth-Century Double MonasteryLauren Purcell-Joiner3 A Female-Voice Ceremonial from Medieval CastileDavid Catalunya4 Religious Reform and Liturgical Change in the Fifteenth Century: Chant as Women’s Protest MusicClaire Taylor JonesPART 2: Materiality5 Beyond this Mist: Uncovering Material Multiplicities in Amis, amisRachel May Golden6 Transmission of Female-Voice Motets in Late Thirteenth-Century ManuscriptsAnna Kathryn Grau7 Chants for the Holy Trinity of Barking Abbey: Ethelburg, Hildelith, and WulfhildAnne Bagnall YardleyPART 3: Subjectivity and Emotion8 Handmade Women: The Manufacture of Femininity in the Chansons de femmeHelen Dell9 The Voice of Emotion: Constructing an Identity for the Comtessa de Dia in PerformanceLeah Stuttard10 “Going all the Way with Marot”: Empowerment in the Pastourelle Motet L’autrier m’esbatoie/Demenant grant joie/MANERELisa Colton11 Sexuality, Pedagogy, and Women’s Emotions in Middle English SongsCarissa M. Harris12 “Who cannot wepe come lerne at me”: Voicing Refrains in Late Medieval Passion LyricMelissa TuPART 4: Representation13 A Song from the Mound: The Female Voice as a Repository for Genealogical Knowledge in HyndluljóðAnnemari Ferreira14 Eye, Mouth, and Heart: The Female-Voiced Contrafacta of Can vei la lauzeta moverMeghan Quinlan15 A Musical Letter from Eleanor of Provence to Margaret of Scotland: Patronage as Authorship in the Sequence Ex te lux oriturGillian L. Gower16 Female Voice in the Trecento SongAngelica Vomera17 Saints and Sinners: The Representation of Women in Late-Medieval English CarolsLouise McInnesIndex

Anna Kathryn Grau is lecturer and Music & Performing Art Librarian at the University of Wisconsin-Milwaukee. Her published work includes research on gendered voices within Old French motets, it has appeared in Gender & Voice in Medieval French Literature and Song (ed. Katherine Kong and Rachel Golden, University Press of Florida, 2021).Lisa Colton is Professor of Musicology at the University of Huddersfield. Her publications include Angel Song: Medieval English Music in History (Routledge, 2017) and the co-edited book Music and Liturgy in Medieval Britain and Ireland (Cambridge University Press, 2022).

• AcknowledgementsList of Figures, Tables and Music ExamplesNotes on ContributorsIntroduction: Female Authorship, Female Voice, and Female-Voice SongAnna Kathryn Grau and Lisa ColtonPART 1: Ritual Discourse1 The Feminine Voice in the Early Islamicate Courts (661–1000)Lisa Nielson2 Music, Liturgy, and the Discursive Construction of Gender in a Thirteenth-Century Double MonasteryLauren Purcell-Joiner3 A Female-Voice Ceremonial from Medieval CastileDavid Catalunya4 Religious Reform and Liturgical Change in the Fifteenth Century: Chant as Women’s Protest MusicClaire Taylor JonesPART 2: Materiality5 Beyond this Mist: Uncovering Material Multiplicities in Amis, amisRachel May Golden6 Transmission of Female-Voice Motets in Late Thirteenth-Century ManuscriptsAnna Kathryn Grau7 Chants for the Holy Trinity of Barking Abbey: Ethelburg, Hildelith, and WulfhildAnne Bagnall YardleyPART 3: Subjectivity and Emotion8 Handmade Women: The Manufacture of Femininity in the Chansons de femmeHelen Dell9 The Voice of Emotion: Constructing an Identity for the Comtessa de Dia in PerformanceLeah Stuttard10 “Going all the Way with Marot”: Empowerment in the Pastourelle Motet L’autrier m’esbatoie/Demenant grant joie/MANERELisa Colton11 Sexuality, Pedagogy, and Women’s Emotions in Middle English SongsCarissa M. Harris12 “Who cannot wepe come lerne at me”: Voicing Refrains in Late Medieval Passion LyricMelissa TuPART 4: Representation13 A Song from the Mound: The Female Voice as a Repository for Genealogical Knowledge in HyndluljóðAnnemari Ferreira14 Eye, Mouth, and Heart: The Female-Voiced Contrafacta of Can vei la lauzeta moverMeghan Quinlan15 A Musical Letter from Eleanor of Provence to Margaret of Scotland: Patronage as Authorship in the Sequence Ex te lux oriturGillian L. Gower16 Female Voice in the Trecento SongAngelica Vomera17 Saints and Sinners: The Representation of Women in Late-Medieval English CarolsLouise McInnesIndex