programme and abstracts - Alamire Foundation

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its presentation in print, ultimately redounded to the glory of
Hamburg.
I offer a print history of these important works, among the first
of their kind to be published in North Germany. One aim of my
discussion is to resolve some of the bibliographical confusion
surrounding Praetorius’s works, due to the multiplicity of
editions, the dearth of surviving materials, and misleading
information in the bibliographical literature; in particular, I argue
against the existence of a first edition from 1618 of Praetorius’s
fifth volume, the Cantiones novae officiosae, despite references in
Eitner’s Quellen-Lexikon and elsewhere. Finally, I evaluate the
umbrella term Opus musicum, which has come to refer to all of
Praetorius’s published works, and investigate the typographical
and publicational mechanisms by which Praetorius’s disparate
musical collections were repackaged as a unified, retrospective
Opus musicum.
SOFIE TAES
K.U.Leuven - Alamire Foundation, BE
Still making waves: Traces of the Hanze in Music History
To study the topic ‘Music and Hanze’ is to be aware of its many
facets, methodological problems, and its complex of meanings
and relations.
Within this domain of research, different paths can be chosen;
the study of music ‘in hanseatic cities’ - in other words: the study
of music at a certain location, within a certain time span, both
colliding with hanseatic history, but with no further regards to a
possible interference between Music and Hanze - is a possible
trajectory.
Another one, however, that will be explored in this paper, is to
focus on the importance of the Hanze as an
economical/political/cultural phenomenon and structure, for
developments within music history and - on the reverse side - on
the functions and use of music within the context of the
hanseatic league.