Can Catherine expand on the implications of Desdemona's Willow song in the context of a production of Othello where the song is a private moment between Desdemona and Emilia which is not overheard by Othello?

Given that few audience members now are likely to understand the meanings inherent in the structures and compositional techniques of Renaissance music that Catherine describes, how might that knowledge be used in the context of a performance of one of these plays today? In particular, how could a production now of The Knight of the Burning Pestle use music to arouse Jasper’s jealous fit?