“Part 1 The Diva How applicable is the label diva to the Concerto delle donne? Please support you answer with references to the musical performances provided in the module materials. [573 words] TMA 03 Part 2 Plato on Tradition and belief [619 words] 1. In this passage, Socrates sets out to examine a claim about courage that Protagoras made earlier in the dialogue. What is the claim? Which aspect of the claim does Socrates think he has refused by the end? 2. In Paragraphs 5-15, Socrates argues that cowardice is error about what to fear. How does he argue for that conclusion? 3. How (in paragraphs 16-20) does Socrates argue that courage is knowledge of what to fear? 4. In this passage, Socrates argues that courage is knowledge of what to fear. Identify, and briefly discuss, one consideration in favour of this view and one or two considerations against it.”

The first thing to take into consideration when answering this question is the understanding one of the definitions of a Diva. The stereotypical diva in the classical music world is someone of supreme talent, with great vocal facility and an ability to convey the emotional nuances of the music to her audience (Moohan, E, 2008, p.163).

The first thing that would suggest the label diva is applicable to the Concerto delle donne is their claimed vocal excellence and popularity with the Ducal court of the northern Italian town of Ferrara in the fifteenth century, which was reigned over at the time (between 1559-97) by Duke Alfonso II deste . This was a time when Ferrara was established as a centre for the cultivation of the fine arts, particularly music (Moohan, E, 2008, p.182). It is claimed that the Concerto delle donne, at this time, were famous throughout Italy, …(short extract)