Italian Traces in Musical Culture at Wettin Courts during the Sixteenth Century

该项目考察了世纪欧内斯廷和艾伯丁·韦廷斯的代表性宫廷中鲜为人知或至今未被调查的意大利音乐和音乐文化的传播、传播和接受方式。韦廷宫廷（尤其是选帝侯的宫廷）似乎是最合适的，因为自1500年以来，在其文化演变过程中，来自意大利的音乐传播（有据可查）的惊人连续性是显而易见的。从一个广泛的概念“宫廷音乐”（这是推荐的各种情况下），这种主要是单向的（即从南到北）跨文化交流的决定性现象应该加以讨论。除其他外，这些关注星座的来源资金和音乐传统与密切的音乐政治背景（例如，与耶拿唱诗班的某些大众曲目中意大利风格的集中有关，或与乔治·鲁塞尔的版画中的“意大利”音乐有关），迄今尚未反映的文体和技术特点（例如，从16世纪后半叶起，萨克森-图林根国家对较轻的意大利风格的微妙处理和采用）或密切的文化联系，如三角关系的佛罗伦萨-德累斯顿-布拉格在1600年左右。该项目的目的是质疑和扩展关于韦廷宫廷文化与意大利音乐的多层次关系的功能联系及其历史文化背景，探索新的相关来源和迄今为止很少注意到的宫廷（例如，与魏玛欧内斯廷宫廷起伏不定的音乐环境有关），以及调查被忽视或未知的关于外国的美学话语-从中世纪末到三十年战争前夕，德国中世纪的音乐接受状况。

The project examines little-known or up to now uninvestigated ways of transferring, distributing and receiving Italian music and musical culture at representative courts of Ernestine and Albertine Wettins during the sixteenth century. The Wettin courts (in particular those of the electors) seem to be most suitable, because in the course of their cultural evolution since 1500 a striking continuity of (well-documented) musical transmission from Italy is noticeable. Starting from a wide-ranging concept of »court music« (which is recommended by the variety of contexts), decisive phenomena of this primarily unidirectional (i.e. from the south to the north) intercultural communication should be discussed. Amongst others, these concern constellations of source funding and musical traditions associated with close music-political background (for instance, relating to the concentration of Italian styles in certain mass repertoire of the Jena Choirbooks or to the »Italian« music in the prints of Georg Rhaw), not-hitherto reflected stylistic and technical peculiarities (e.g. the subtle treatment and adoption of lighter Italian genres in the Saxon-Thuringian countries from the second half of the sixteenth century) or also close cultural interlinkings such as the triangular-relationship Florence-Dresden-Prague around the decades of 1600. The aim of the project is to question and to extend the functional connections and their historico-cultural contexts regarding the multi-layered relations of Wettin court cultures to Italian music, to explore new relevant sources and hitherto scarcely noted courts (for example, relating to the fluctuating musical environment of the Ernestine court in Weimar) as well as to investigate neglected or unknown aesthetic discourses concerning foreign-music reception in Middle Germany from the end of the Middle Ages to the eve of Thirty Years War.