References

^*Kimberly Beck Hieb (kimberlyhieb@gmail.com) is an Assistant Professor of music history at West Texas A&M University. She earned her Ph.D. from the University of British Columbia in 2015, writing a dissertation on music as a reflection of power and piety in late seventeenth-century Salzburg. Her research, which takes up questions of genre as well as religious and political representation in early modern music, has been supported in part by a Fulbright research fellowship, the Austrian Exchange Agency, and a Eugene K. Wolf travel grant from the AMS.

^[1] Charles Brewer, Instrumental Music of Schmeltzer, Biber, Muffat, and Their Contemporaries (Burlington, Vt.: Ashgate, 2011), Erika Honisch, “Sacred Music in Prague 1580–1612” (Ph.D. diss., University of Chicago, 2011), Jiří Sehnal, Pavel Vejvanovský and the Kroměříž Music Collection, trans. Judith Fiehler (Olomouc: Palacký University Press, 2008).

^[2] Robert Rawson, “Gottfried Finger’s Christmas Pastorellas,” Early Music 33, no. 4 (November 2005): 591–606.

^[3] Michael Beckerman, “In Search of Czechness in Music,” 19th-Century Music 10, no. 1 (Summer 1986): 61–73.

^[4] Daniel Freeman, The Opera Theater of Count Franz Anton von Sporck in Prague (Stuyvesant, N.Y.: Pendragon Press, 1992). See also Angela Romagnoli, “From the Habsburgs to the Hanswursts, to the Advent of Count Sporck: The Slow Progress of Italian Opera on the Bohemian Scene,” in Italian Opera in Central Europe, 1614–1780,vol. 1, Institutions and Ceremonies, ed. Melania Bucciarelli, Norbert Dubowy, and Reinhard Strohm (Berlin: BWV Berliner Wissenschafts-Verlag, 2006), 67–98.