Picturing the Flute of Maximilian I: A Study of the Transverse Flute and its symbolic use as a political instrument in the Mummeries of Freydal
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Autor:innen
Autor:in (Körperschaft)
Publikationsdatum
04.04.2022
Typ der Arbeit
Master
Studiengang
Typ
11 - Studentische Arbeit
Herausgeber:innen
Herausgeber:in (Körperschaft)
Betreuer:in
Übergeordnetes Werk
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Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis
Verlagsort / Veranstaltungsort
Basel
Auflage
Version
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Abtretungsempfänger:in
Praxispartner:in/Auftraggeber:in
Zusammenfassung
The mummeries, or masked dances, of Freydal (1512–1515), one of Maximilian's allegorical
autobiographies, are a realistic portrayal of a flamboyant form of courtly entertainment
denounced by the Church, and its colorful miniatures reveal thirty-five transverse flutes with
diverse sizes, bore-widths, and colors, reflecting a transitional decade in the history of the
flute. Noble ladies hosted these mummeries in their Frauenzimmer, where flutes and drums
were also important for dance practice. The flutes of Freydal appear mostly in ensemble with
drum, but also with trombone, other flutes, and singers, and historical records list dance and
military flutes separately, suggesting that the quality of Maximilian's flute-and-drum music
was closer to the revered alta capella than the military duo. Flutists, who were likely multiinstrumentalists
capable of doubling and reading notation, wear black silk masks and
matching costumes with Freydal's dancers, indicating an elevated social standing. By
attaching himself to transverse flutes in his paper propaganda, Maximilian evokes the glory
of crusade, local German tradition, and sensual, humanist ideals, thus marketing himself as
"the merriest king."
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Sprache
Englisch
Während FHNW Zugehörigkeit erstellt
Ja
Zukunftsfelder FHNW
Publikationsstatus
Begutachtung
Open Access-Status
Lizenz
Zitation
Scarborough, H. (2022). Picturing the Flute of Maximilian I: A Study of the Transverse Flute and its symbolic use as a political instrument in the Mummeries of Freydal [Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis]. https://doi.org/10.26041/fhnw-4725