scholarly journals Central Europe in the Sixteenth Century: A Musical Melting Pot

2021 ◽  
Vol 40 (1-2) ◽  
pp. 97-102
Author(s):  
Lilian P. Pruett
Keyword(s):  
Roman Empire ◽  
Sixteenth Century ◽  
Central Europe ◽  
Art Music ◽  
Time Frame ◽  
Holy Roman Empire ◽  
Southeastern Part ◽  
Melting Pot ◽  
Central European ◽  
Musical Practices

After briefly reviewing the problems arising from attempts to dentify precise geographical outlines of Central Europe in the course of time, the author opts to use the limitations existing in the sixteenth century, the time frame of the presentation. This means, essentially, the borders of the Habsburg homelands, i.e., the southeastern part of the Holy Roman Empire. The paper argues that the roots of Central European musical practices were established through the foundation of regulated institutional entities such as the imperial chapels of Maximilian I (1496) and other rulers (Albrecht V of Bavaria, 1550), their successors and imitators, as well as the transalpine Renaissance church centers. As these institutions were staffed by musicians coming from virtually every corner of Europe – each practitioner bringing his own territorial contribution with him – the emerging musical consciousness of the Central European region had as cosmopolitan a foundation as that of Europe at large. Still, the proximity of the Central European art music scene to the variety of local ethnic traditions may be interpreted as lending a flavor to the musical expression of the area, endowing it with a character of its own. While in its beginnings the recipient of many influences from multinational contributors, in a later, equally cosmopolitan period (the Classicism of the eighteenth century), Central Europe reciprocates in equal measure, its contributions exerting impact upon European music in general.

Juridical Equality

2019 ◽  
pp. 42-52
Author(s):  
David Sorkin
Keyword(s):  
Roman Empire ◽  
Early Modern ◽  
Central Europe ◽  
Ethnic Differences ◽  
Western Europe ◽  
Holy Roman Empire ◽  
Central European ◽  
Political Status ◽  
Central European Region ◽  
East And West

This chapter details how the Jews of the Holy Roman Empire constituted the central European region of emancipation. Some historians would contend that the Holy Roman Empire's “archaic, traditionalist constitution created a society that tolerated religious and ethnic differences to a far greater degree than the more centralized states of Western Europe”; in other words, “early modern central Europe was a pluralistic, complex society more tolerant of differences than England, France or Spain.” Whether this observation is accurate or not, it concerns toleration, not parity. Jews in the Holy Roman Empire fell behind Jews to the east and west in their political status. They gained neither collective corporate privileges nor the civic rights of emerging civil societies. To be sure, their juridical equality in the courts of the Holy Roman Empire marked a significant elevation in status. The Court Jews' extensive individual privileges were also an elevation in status, yet only for a miniscule elite. In sum, Jews in the Holy Roman Empire did not keep pace with their brethren east and west, thus making the transition to emancipation, when it came, a painful rupture.

scholarly journals VISUALIZING GERMANNESS THROUGH COSTUMES IN THE SIXTEENTH CENTURY

2021 ◽  
pp. 1-32
Author(s):  
FREDERICK G. CROFTS
Keyword(s):  
Roman Empire ◽  
Sixteenth Century ◽  
Holy Roman Empire ◽  
Production Networks ◽  
Continuity And Change ◽  
Political Landscape ◽  
History Of ◽  
Scholarly Discourse ◽  
Material Exchange

ABSTRACT Examining the understudied collection of costume images from Heidelberg Calvinist, lawyer, and church councillor Marcus zum Lamm's (1544–1606) ‘treasury’ of images, the Thesaurus Picturarum, this article intervenes in the historiography on sixteenth-century German national imaginaries, emphasizing the import of costume books and manuscript alba for national self-fashioning. By bringing late sixteenth-century ethnographic costume image collections into scholarly discourse on the variegated ways of conceiving and visualizing Germany and Germanness over the century, this article sheds new light on a complex narrative of continuity and change in the history of German nationhood and identity. Using zum Lamm's images as a case-study, this article stresses the importance of incorporating costume image collections into a nexus of patriotic genres, including works of topographical-historical, natural philosophical, ethnographic, cartographic, cosmographic, and genealogical interest. Furthermore, it calls for historians working on sixteenth-century costume books and alba to look deeper into the meanings of such images and collections in the specific contexts of their production; networks of knowledge and material exchange; and – in the German context – the political landscape of territorialization, confessionalization, and dynastic ambition in the Holy Roman Empire between the Peace of Augsburg and the Thirty Years War (1555–1618).

Translating Sorrow

2016 ◽  
Vol 33 (2) ◽  
pp. 121-163
Author(s):  
Scott L. Edwards
Keyword(s):  
Roman Empire ◽  
Early Modern ◽  
Holy Roman Empire ◽  
Musical Composition ◽  
Low Countries ◽  
Central European ◽  
Cultural Challenges ◽  
The Social ◽  
Italian Music

In the multilingual environments of Central European cities and courts, Italian musicians found a receptive market for their music. There they confronted a range of linguistic abilities that encouraged innovative approaches to musical composition and publication. Recent rediscovery of the opening sheets of Giovanni Battista Pinello’s 1584 Primo libro dele neapolitane enables us to assess one Genoese composer’s experience of a multi-ethnic, Central European milieu during an unprecedented migrational wave. As chapelmaster at the electoral court in Dresden with ties to aristocratic circles in Prague, Pinello also issued a German version that can be sung, according to the composer, simultaneously with the napolitane. This study examines the Central European market for Italian music, the role of the Holy Roman Empire in facilitating Italian migration, and cultural challenges foreign musicians faced in their new homes. Nineteenth-century myths of nationhood depended on histories of folk-like immobility, but in fact migration was a basic condition of early modern European life. Music historians have long been aware of individual musicians’ travels from the Low Countries in the fifteenth and sixteenth centuries, along with a new trend, emerging around 1600, toward northward emigration by Italian musicians. Nonetheless, there is much more to say about the social underpinnings of such movements. Pinello’s fusion of languages, poetic forms, and registers invites us to reimagine the multi-ethnic complexion of Central European musical centers in the late sixteenth century.

scholarly journals Central European History and the Holy Roman Empire

2018 ◽  
Vol 51 (1) ◽  
pp. 40-45
Author(s):  
Joachim Whaley
Keyword(s):  
Roman Empire ◽  
British Journal ◽  
Middle Ages ◽  
European History ◽  
Holy Roman Empire ◽  
German History ◽  
Central Importance ◽  
Central European ◽  
East European ◽  
New Literature

Central European History (CEH) began to appear at a crucial juncture in the historiography of the Holy Roman Empire. Of course its remit was much broader. Founded sixteen years before the British journal German History, Central European History, together with the Austrian History Yearbook (founded in 1965) and the East European Quarterly (founded in 1967), took over the role occupied between 1941 and 1964 by the Journal of Central European Affairs. Each of these US journals shared an openness to new approaches and to work on all periods since the Middle Ages, as well as a desire—in the words of CEH's inaugural editor, Douglas Unfug—to keep “readers abreast of new literature in the field …,” with “reflective, critical reviews or review articles dealing with works of central importance … [and] bibliographical articles dealing with limited periods or themes…”

New Light on Secular Polyphony at the Court of Holland in the Early Fifteenth Century: The Amsterdam Fragments

1992 ◽  
Vol 117 (2) ◽  
pp. 181-207 ◽  
Author(s):  
Rob C. Wegman
Keyword(s):  
Roman Empire ◽  
Sixteenth Century ◽  
The Netherlands ◽  
Fifteenth Century ◽  
Holy Roman Empire ◽  
Regional Government ◽  
Common Language ◽  
Middle Dutch ◽  
First Time

Around 1400, the northern Netherlands were little more than a loose collection of quarrelling principalities, unified to some degree by their common language, Middle Dutch. Formally this unruly area was part of the Holy Roman Empire, but the German emperor's political weakness laid it wide open to the territorial ambitions of the Burgundian dukes. Under their rule, the Netherlands saw centralized regional government for the first time in their history. But it was not until the sixteenth century, when their Spanish Habsburg successors were increasingly regarded as foreign oppressors, that anything like a unified sovereign Dutch state came within sight.

Heidelberg, Dresden, Berlin, Vienna

2016 ◽  
Author(s):  
Dennis F. Mahoney
Keyword(s):  
Roman Empire ◽  
Central Europe ◽  
Holy Roman Empire ◽  
German Romanticism ◽  
Creative Collaboration ◽  
Intellectual Discourse ◽  
Two Factors ◽  
The Impact ◽  
Literary Innovation

In the various permutations of German Romanticism from its beginnings in the 1790s, two factors remain constant: a penchant for collaborative, transdisciplinary work, and the formation of small circles—often in university towns—whose particular character often depended upon and contributed to the prevailing intellectual discourse of that locale. For the four cities highlighted in the chapter heading, one further factor needs to be considered: the impact of the Napoleonic reorganization of central Europe. The breakup and dispersal of the Jena Romantics coincided with the collapse of the moribund Holy Roman Empire, which officially ended in 1806 but whose final dissolution began with the Treaty of Lunéville in 1801. This chapter looks at the interplay between history and creative collaboration, literary innovation and political aspiration or restraint, as the main energies of German Romanticism relocate themselves in these different cities at different times.

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