近來對義大利文藝復興女性音樂贊助人的研究，以女侯爵伊莎蓓拉‧葉斯特及和她同地位的貴族為中心，這讓學者普遍認為女性只有在家庭、世俗及宮廷的私領域內才能成為重要的音樂贊助者。然而，仍有義大利貴族女性存在於此被接受的準則之外。貝亞特麗斯‧葉斯特、Savoy的艾蘭達、米蘭的波娜女公爵，以及帕瑪的瑪格莉特對教堂唱詩班及樂隊的保存工作都很活躍，她們也都支持聖樂的創作與演出。甚至在宮廷內，女性以政治及私人原因使用音樂及音樂家。本論文將探索一些激發女性貴族步出傳統女性內領域，而走入公眾及政治音樂贊助的活動及動機。

Recent studies of female patrons of music in Renaissance Italy, centering on Isabella d’Este and her peers, have led scholars to generalize that women were significant patrons of music only within a private sphere of domestic, secular, and courtly entertainment. There are, however, instances of Italian noblewomen working outside of this accepted norm. Beatrice d’Este, Iolanda of Savoy, Duchess Bona of Milan, and Margaret of Parma were active in the maintenance of chapel choirs and wind bands, and supported the composition and performance of sacred music. Even within the court, women used music and musicians for political as well as personal reasons. This paper will explore some of the activities and motivations that prompted Renaissance noblewomen to step outside of the traditional female domestic sphere into public and political music patronage.