{"version":"1.0","provider_name":"mdwPress","provider_url":"https:\/\/www.mdw.ac.at\/mdwpress\/en","author_name":"Jana Diewald","author_url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/author\/diewald\/","title":"Stringed Keyboard Instruments at the Courts of the Austrian Habsburgs in the Sixteenth Century \u2013 the \u2018Italian Perspective\u2019 &#8211; mdwPress","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"avOTZm1eI5\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp017-008\/\">Stringed Keyboard Instruments at the Courts of the Austrian Habsburgs in the Sixteenth Century \u2013 the \u2018Italian Perspective\u2019<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp017-008\/embed\/#?secret=avOTZm1eI5\" width=\"600\" height=\"338\" title=\"&#8220;Stringed Keyboard Instruments at the Courts of the Austrian Habsburgs in the Sixteenth Century \u2013 the \u2018Italian Perspective\u2019&#8221; &#8212; mdwPress\" data-secret=\"avOTZm1eI5\" 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":"Markus Grassl &nbsp; Introduction For several decades, musicological research has collected a wealth of individual, often quite detailed information about keyboard instruments and keyboard players at the courts of the Austrian Habsburgs in the early modern period. Besides studies on specific musicians, particularly those who are also known as composers,1 it has been primarily the &hellip;","thumbnail_url":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png","thumbnail_width":64,"thumbnail_height":64}