“…249-260). Approaches such as new historicism (considering original historical concerns; e.g., Carter, 2002;Tomlinson 1981); new criticism (reading the poetry sans context; see Tomlinson, 1987); feminist critique (e.g., Cusick, 1994;Gordon, 2004;Heller, 2003Heller, , 2014MacNeil, 2003;McClary, 1991); and historically informed performance practice (e.g., Calcagno, 2002Calcagno, , 2012Schneider, 2012;Wistreich, 1994Wistreich, , 2013 are only a few of the various lenses that scholars have adopted, from the 1990s through to the present, in examining Monteverdi's musical choices, and the implications for research and performance in the present.…”