This article uses three well-known members of Rudolf II's imperial court—the astronomer Johannes Kepler, the composer Philippe de Monte, and the adventurer Kryštof Harant—to delineate some ways music helped Europeans understand identity and difference in the early modern period. For Kepler, the unfamiliar intervals of a Muslim prayer he heard during the visit of an Ottoman delegation offered empirical support for his larger arguments about the harmonious properties of Christian song and its resonances in a divinely ordered universe. For Harant, listening and singing were a means of sounding out commonalities and differences with the Christians and Muslims he encountered on his travels through the Holy Land. Monte sent his music across Europe to the English recusant William Byrd, initiating a compositional exchange that imagined beleaguered Bohemian and English Catholics as Israelites in exile, yearning for Jerusalem. Collectively, these three case studies suggest that musical thinking in Rudolfine Prague did not revolve around or descend from the court or sovereign; rather, Rudolf II's most erudite subjects listened, sang, and composed to understand themselves in relation to others.

Whereas German-speaking archaeology (GSA) has long been understood as generally uninterested in theoretical debates, the situation has taken a most interesting development since the year 2000. Archaeologists tried to escape the general decline of the small university disciplines by getting more and more involved in the overarching research questions of cultural studies and in large-scale collaborative projects. The necessity of integrating a clear theoretical and methodological approach for a successful proposal and the subsequent research changed the significance of theoretical discussions. As a consequence, theme-oriented research has developed which aims at addressing overarching themes in the cultural and social sciences. We have chosen five of the most prominent themes in German-speaking archaeology – self-reflexivity, identities, space, cultural encounter and knowledge transfer – as well as material culture, and shed light on their theoretical conceptualization and methodological implementation in recent publications. Despite the lack of dominant schools of thinking, its strong rootedness in the evaluation of empirical sources, and its close link to the discipline of history, current GSA can contribute to the overall theoretical discourse of the discipline.

William Ansah Sessarakoo, the son of a powerful Fante slave trader on the Gold Coast, was tricked and sold into slavery in Barbados by a British ship’s captain during the 1740s. He was emancipated and brought to Britain in 1748, where he enjoyed a brief period of national celebrity before returning to the Gold Coast in 1750. This paper examines the specific political and cultural circumstances surrounding his remarkable journey, through the lens of the media generated about him during his time in Britain. It demonstrates that the most extensive contemporaneous account of Sessarakoo’s story, The Royal African, was in reality an attempt to generate popular support for a moribund Royal African Company and incorporate slave trading into narratives of national identity, based on notions of economic responsibility and honour. Adhering to conventions typified in Thomas Southerne’s stage adaptation of Oroonoko, further popular representations of Sessarakoo emphasised his aristocratic status and putatively inherited ‘noble’ characteristics. In doing so, they emphasised perceived differences between him and the majority of African peoples, who were deemed suitable for enslavement. The paper closes with an examination of some of the effects of Sessarakoo’s visit on Euro-African trade and diplomacy on the Gold Coast.