HARRY WHITE (Dublin) explores Johann Joseph Fux and the musical discourse of servitude. THOMAS HOCHRADNER (Salzburg) examines the composer profile of Fux amidst historical uncertainties. MATTIAS LUNDBERG (Uppsala) investigates the authenticity of the Stile Antico in Fux's work. ALBERT CLEMENT (Middelburg) discusses Fux's understanding in Bach's circles. ERICK ARENAS (Stanford) evaluates the legacy of Fuxian liturgical style, focusing on Michael Haydn. ANDREW H. WEAVER (Washington) analyzes sacred music as a public image for Emperor Ferdinand III post-Thirty Years’ War. JEN-YEN CHEN (Taipei) delves into the ‘Virtue’ Mass in early 18th-century Austria beyond the Viennese court. ERIKA HONISCH (Chicago) addresses music and Eucharistic devotion at Rudolf II's Prague court (1576–1612). HERBERT SEIFERT (Wien) questions the authorship of a significant composition, "Miserere mei Deus." TASSILO ERHARDT (Middelburg) studies a long-standing cycle of introits from the Viennese court. MARKO DEISINGER (Wien) profiles Giuseppe Tricarico's contributions to sacred music at the Habsburg court (1657–1662). JOHANNES PROMINCZEL (Wien) provides an overview of sources related to Marc’ Antonio Ziani's church music. ALISON DUNLOP (Dublin) warns about sacred music incorrectly attributed to Gottlieb Muffat. GUIDO ERDMANN (Wien) highlights Filippo Salviati's role in the Viennese Gradualsonate. JANET K. PAGE (Memphis) discusses music in Viennese female con
