The answer is sought to what sort of music in H.F. Müller’s range bore region-related titles and what did regional titles refer to. The usage of melodies of various provenance is analyzed in relation to their context of origin and to the arrangement-styles. Data has also been gathered regarding the cross-regional spread of Müller’s prints.
Thus a number of currently forgotten, but attractive music publications are being revealed and reevaluated. Ultimately, the inclusion of “regionalisms” into the novel parlour music may be interpreted as a process of “cultural translation”1. Transcribing and arranging, i.e. adjusting diverse melodies to different musical systems could be analogous to translating a cultural idiom into another, as an artistic tool for the conversion of otherness into a more comprehensible language.