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‹‹ Table of Contents
Volume 26 (2020) No. 1

A Note from the Editor

The Thirty Years War (1618–1648) changed the political and physical landscape of central Europe, laying waste to broad swathes of territory and bringing widespread death and disease to warrior and civilian alike. As Kapellmeister to the Elector of Saxony, Henrich Schütz had to provide music not only for standard liturgical ceremonies but also for special occasions; and as several of these marked events in the war, we have a series of works that seem almost to trace the progress of battles, negotiations, and, ultimately, the peace of 1648 that marked the end of an older Europe and the start of a new one.

Thus began the call for proposals for the international conference “Thirty Years of War: Henrich Schütz and Music in Protestant Germany,” organized by the Center for Early Music Studies, Boston University, and held on May 11–12, 2018.[1] The eight articles in this issue of JSCM are drawn from that conference. They cover a broad range of topics: the plight of ordinary court musicians in a war that “caught everyone and everything in its web” (Joshua Rifkin); early modern understanding of music’s contribution to the corporeal, psychological, and social dimensions of painful emotional experiences (Bettina Varwig); the question of how musicians chose particular pieces for performance at political occasions (Derek Stauff); Schütz’s sensitivity to the performing forces available to him, which were often shaped by conditions at the Dresden court (Keith Polk); the varied fortunes of musicians with different types of careers (Arne Spohr) and of cantors in different cities (Joanna Carter Hunt); and music’s role in the interplay of Protestantism and patriotism, first in the aftermath of the Thirty Years War (Hannah Spracklan-Holl) and then in the German reception of Schütz’s music in the twentieth century (Torbjørn Skinnemoen Ottersen). It has been a pleasure to work with Victor Coelho, of Boston University, in bringing this collection of papers to our readers.

If you have read this far, you have already discovered that the Journal’s website has been updated and substantially reconfigured. Please see the “Reading JSCM” pop-up at the top of each article or review for further information, especially instructions for positioning the endnotes either at the right-hand side or at the foot of the page. Please let me know if you have any concerns.

Lois Rosow
Editor-in-Chief
rosow.1@osu.edu

[1] On this spelling of the composer’s first name, see the citations in Joshua Rifkin’s article below, n. 1. Most of the authors in this collection chose the traditional spelling; we let this stand.