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The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.

In the history of seventeenth-century European music the court of Christian IV (r. 1588-1648) occupies a position of prominence. Christian, eager for fame as a patron of the arts, drew to Denmark many of the musical giants of the age, among them the lutenist John Dowland and the composer Heinrich Schltz. Sadly, except for financial records and occasional letters still in the archives, few traces remain of these brilliant years in Denmark. The music composed and played during this half century has largely disappeared, most of it probably in the tragic fire of 1794 that destroyed the old Christiansborg Castle in Copenhagen and with it the court music archives. Except for the recently-discovered Clausholm Fragments, only three specimens of keyboard music from the period remain: Ny kgl. Saml. 1997 fol. (Obmaus Tablature), Gl. kgl. Saonl. 376 fol. (Copenhagen Tablature), and mu 6703.2131/6 (VoigtlaJnder Tablature). It has generally been assumed that the manuscripts were of German origin. The present study, however, demonstrates a probable Danish origin for the third, possible Danish connections for the second, and establishes that the first is of Austrian provenance. The Obmaus Tablature is an amateur's preservation of a German keyboard style already outdated. This slender manuscript, dated 1637, contains a total of ten "archaic" pieces exhibiting the peculiarities of keyboard dances and song settings from the late sixteenth century. The awkward style of the pieces leads to the conclusion that they were transcribed for keyboard--more literally than imaginatively--from lute originals. The Copenhagen Tablature, consisting of thirty-four folios, is of primary importance for its evidence of the spread of the French claveqin style and the development of the keyboard suite. Of the sixty-nine pieces the majority are French dance forms, several with doubles; also included are preludes, German dances, and settings of chorales, psalms, and secular songs. In this study the dating of the various portions of the manuscript is discussed, and conjectures as to the compilers are presented.

Xu Fu-Yuan (®}§·»·) was a famous writer in the late Ming Dynasty (©ú©u)¡Aand started Ji Club (´XªÀ) with Chen Zi-long (³¯¤lÀs) and Xia Yun-yi (®L¤¹ÂU). When the Ming (©ú) government was overthrown by the Qing (²M)government .he chose to forsake his family to overturn the Qing (²M) government and then experienced several emperors of Nan Ming dynasties («n©ú). The poems written during he left the hometown to overturn the Qing (²M) government in¡¨ Diao-Huang-Tang Manuscripts¡¨ (¡m³¨¿X°ó¦s½Z¡n)and¡¨ Jiao-Xing Manuscripts¡¨(¡m¥æ¦æºK½Z¡n)total early2800.People could hardly get the Diao-Huang-Tang Manuscripts(¡m³¨¿X°ó¦s½Z¡n)so the critics and researches in the Ming literature are very poor, and there are some questions must be settled in the Taiwan literature. Therefore, the study is on the two books to explore his life feelings during the Ming (©ú) and Qing (²M). The subjects of this study comprises the life and writings of Xu Fu-yuan, social association, self-identification, feelings, ocean writing, and Taiwan writing. By researching in depth on Xu Fu-Yuan (®}§·»·) and his poems, we discover something .For example, first, we confirm he went to Jiao Nan (¥æ«n) in February ,12th year of Yong-li (¥Ã¾ä). Second, we get Xu Fu-Yuan¡¦s (®}§·»·) friends in his poems more than 140.It not only helps us to understand him more but fill the records in Nan Ming dynasty. Third, his ocean writings have plenty of subjects and varied images. Fourth, according to¡¨ Diao-Huang-Tang Manuscripts¡¨(¡m³¨¿X°ó¦s½Z¡n), he came to Taiwan with his wife and his childe to reclaim lands in 1rt year of Kangxi (±dº³). In addition, the poem ¡¥peach blossom¡¦ (¡q®çªá¡r) and ¡¥mourn for Zhang Gong-SHi¡¦aren¡¦t written in Taiwan. Generally speaking, Xu Fu-Yuan (®}§·»·) has an extremely important historical value in Taiwan literature ,Chinese literature.

The author's inaugural dissertation, Munich, 1931. / The number of plates on the t.p. has been partly erased. "Literatur": p. 196-200.

Thesis (doctoral) - Universität, Köln, 2006. / Includes bibliographical references (p. 572-619) and index.