Musikalische Repertoires in Zentraleuropa (1420-1450) : Prozesse & Praktiken

Mit berühmten Repertoire-Handschriften wie den Trienter Codices und der Entstehung einer musikalischen Elite um Sängerkomponisten wie Dufay und Binchois gehören die Jahrzehnte um 1430 zu einer Schlüsselphase der abendländischen Musikgeschichte. Der vorliegende Band vereint 13 Fallstudien zur polyphonen Kunstmusik sowie zum einstimmigen Lied. Erstmals wird so die Gleichzeitigkeit ungleichzeitiger Phänomene für Zentraleuropa beleuchtet – auch hinsichtlich der Wechselwirkungen mit England, Böhmen, Oberitalien und dem franko-flämischen Raum. Zu einem besonders dankbaren Untersuchungsgegenstand wird hierbei das spätmittelalterliche Wien aufgrund des Nebeneinanders von Hof, Universität und Bürgerschaft sowie einer Vielzahl kirchlicher Institutionen. With famous music manuscripts such as the St Emmeram codex or the Trent codices and the rise of a musical elite with singer-composers around Dufay and Binchois, the years around 1430 belong to a crucial period in late-medieval music history. The present volume comprises 13 case studies on polyphonic as well as monophonic repertories with a particular focus on the city of Vienna. For the first time, the {u2018}simultaneity{u2019} of {u2018}non-simultaneous{u2019} phenomena is scrutinized for Central Europe and for the cultural exchange with neighbouring territories of the Holy Roman Empire, of England, Bohemia and Northern Italy.Due to its specific urban profile and the geographical position, late-medieval Vienna offers an excellent starting point for the study of musical repertories in Central Europe and their appropriation as cultural practice in the first half of the fifteenth century. The {u2018}simultaneity{u2019} of {u2018}non-simultaneous{u2019} phenomena is closely connected to the coexistence of different patterns of music patronage within court and nobility, the university, a variety of ecclesiastical institutions (among them the collegiate church of All Saints, later St Stephen{u2019}s Cathedral), and diverse strands of upper- and middle-class citizens on the one hand, cultural exchange with neighbouring territories of the Holy Roman Empire, of England, Bohemia and Northern Italy on the other. Manifold strands of polyphonic and monophonic repertories (both sacred and profane), compositional techniques, regionally bound stylistic peculiarities, strategems of music patronage, institutional (or even personal) collectionism, furthermore aspects of music iconography and the role of music within the history of ideas are scrutinized in thirteen chapters, which are conceived as case-studies, plus a detailed thematical introduction. In sum, this is an invaluable contribution to a better understanding of a crucial period of late-medieval music history With famous music manuscripts such as the St Emmeram codex or the Trent codices and the rise of a musical elite with singer-composers around Dufay and Binchois, the years around 1430 belong to a crucial period in late-medieval music history. The present volume comprises 13 case studies on polyphonic as well as monophonic repertories with a particular focus on the city of Vienna. For the first time, the 'simultaneity' of 'non-simultaneous' phenomena is scrutinized for Central Europe and for the cultural exchange with neighbouring territories of the Holy Roman Empire, of England, Bohemia and Northern Italy. Due to its specific urban profile and the geographical position, late-medieval Vienna offers an excellent starting point for the study of musical repertories in Central Europe and their appropriation as cultural practice in the first half of the fifteenth century. The 'simultaneity' of 'non-simultaneous' phenomena is closely connected to the coexistence of different patterns of music patronage within court and nobility, the university, a variety of ecclesiastical institutions (among them the collegiate church of All Saints, later St Stephen's Cathedral), and diverse strands of upper- and middle-class citizens on the one hand, cultural exchange with neighbouring territories of the Holy Roman Empire, of England, Bohemia and Northern Italy on the other. Manifold strands of polyphonic and monophonic repertories (both sacred and profane), compositional techniques, regionally bound stylistic peculiarities, strategems of music patronage, institutional (or even personal) collectionism, furthermore aspects of music iconography and the role of music within the history of ideas are scrutinized in thirteen chapters, which are conceived as case-studies, plus a detailed thematical introduction. In sum, this is an invaluable contribution to a better understanding of a crucial period of late-medieval music history Frontmatter Inhalt Vorwort Abkürzungsverzeichnis Von Prozessen Und Praktiken, Schnittstellen Und Schmelztiegeln, Raumbefunden Und Musikalischen Repertoires. Anstelle Einer Einleitung Grundsätzliches Ritual – Repertoire – Geschichte : Identität Und Zeitbewusstsein Mehrstimmige Repertoires – Sammlungen & Komponisten Anlage Und Herkunft Des Trienter Codex 93 Hermann Pötzlinger Und Seine Musiksammlung. Der Mensuralcodex St. Emmeram Als Zeugnis Der Zentraleuropäischen Musikpraxis Um 1440 The Transmission Of English Liturgical Music To Central Europe C.1430 – C.1445 Netzwerke Lokaler Komponisten In Wien Um 1430 Presulem Ephebeatum By Petrus Wilhelmi De Grudencz And The Musical Identity Of Central Europe Mehrstimmige Repertoires – Kontexte & Funktionen “Libri De Cantu” In The Early Fifteenth-Century Veneto : Contents, Use And Ownership Subjektivierung Von Polyphonie. Die Devotionsmotette Im Kontext Der Gattungstransformation 1420–1450 Anverwandlungen Vokaler Mehrstimmigkeit Im Bild Und Durch Das Bild. Fallbeispiele Aus Der Ersten Hälfte Des 15. Jahrhunderts Die Einstimmige Liedkunst Sangvers-Lyrik Und Sangvers-Epik In Deutscher Sprache. Überlegungen Zum Musikalischen Repertoire Im Habsburgischen Zentraleuropa Im Späten 14. Jahrhundert Und In Der Ersten Hälfte Des 15. Jahrhunderts Höfische Liedkunst Im Kloster, In Der Stadt Und Andernorts. Zur Rezeption Der Geistlichen Lieder Des Mönchs Von Salzburg In Der Ersten Hälfte Des 15. Jahrhunderts Die Liedersammlung Des Liebhard Eghenvelder : Im Ganzen Mehr Als Die Summe Ihrer Teile Jenseits Von Musikalischen Repertoires Musikalische Bildungs- Und Ausbildungsprofile Im Wissensraum Wien, 15. Jahrhundert. Dokumente Zu Ihrer Erschließung Anhang Abstracts Register Farbtafeln Autorinnen & Autoren Backmatter