{"version":"1.0","provider_name":"mdwPress","provider_url":"https:\/\/www.mdw.ac.at\/mdwpress\/en","author_name":"Max Bergmann","author_url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/author\/bergmann-max\/","title":"Keyboard Tablatures and Imaginary Instrumental Interchange in the Sixteenth Century &#8211; mdwPress","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"bp6f1nzT8K\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/\">Keyboard Tablatures and Imaginary Instrumental Interchange in the Sixteenth Century<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/embed\/#?secret=bp6f1nzT8K\" width=\"600\" height=\"338\" title=\"&#8220;Keyboard Tablatures and Imaginary Instrumental Interchange in the Sixteenth Century&#8221; &#8212; mdwPress\" data-secret=\"bp6f1nzT8K\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.mdw.ac.at\/mdwpress\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","description":"John Griffiths Sources are one of the fundamental pillars of any kind of historical performance practice of music. Particularly for those of us who play polyphonic instruments, reading from the same pages that were used by players in the 16th century \u2013 for the purposes of the present study \u2013 draws us closer to the &hellip;","thumbnail_url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/Fig.-1-Cavazzoni.jpg"}