{"id":2599,"date":"2024-06-04T12:09:10","date_gmt":"2024-06-04T10:09:10","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=2599"},"modified":"2025-02-10T13:20:01","modified_gmt":"2025-02-10T12:20:01","slug":"mdwp003-hacking-the-system","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/","title":{"rendered":"Hacking the System"},"content":{"rendered":"<h2 class=\"subtitle\">Italian Keyboard <em>Intavolatura<\/em> and Scribal Habit<\/h2>\n<h3 class=\"author\"><em>Ian Pritchard<\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        blockquote.tsquotation p em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\n        figure {\n            margin: 0;\n        }\n        audio {\n            margin-top: 0.5em;\n        }\n    <\/style>\n<p><\/head><br \/>\n<\/p>\n<p style=\"text-align: left;\"><div class=\"one_half\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-keyboard-tablatures\" style=\"color:#000000 !important;\">Previous chapter<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp03-singing-reading\" style=\"color:#000000 !important;\">Next chapter<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span 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id=\"zp-ID-2599-4511395-D54F22RI\" data-zp-author-date='Pritchard-2024' data-zp-date-author='2024-Pritchard' data-zp-date='2024' data-zp-year='2024' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Pritchard, Ian. 2024. \u201cHacking the System: Italian Keyboard Intavolatura and Scribal Habit.\u201d In <i>\u2018Universum Rei Harmonicae Concentum Absolvunt\u2019. The Harpsichord in the Sixteenth Century<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-04'>https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-04<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=D54F22RI' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nThe commonly-understood conception of Italian keyboard <em>intavolatura<\/em> as a species of tablature notation carries with it certain implications: that <em>intavolatura<\/em> shares a basic affinity with lute and figure-based keyboard notational systems; that it is a \u2018finger notation\u2019, designed to transmit information necessary for the mechanical actions of playing, but not for voice leading and polyphonic detail; that its functioning was predicated upon a particular set of notational conventions or laws. The identification of <em>intavolatura<\/em> as a distinct notational system has been primarily established through a reading of Diruta\u2019s treatise <em>Il Transilvano<\/em> \u2013 our most complete historical source describing <em>intavolatura<\/em> and the process of intabulating music in it \u2013 and through the volumes of keyboard music printed by 16th-century houses such as Gardano, Vincenti, and Verovio. However, not fully examined to this point has been conceptualizations of <em>intavolatura<\/em> on the part of scribes working on the Italian peninsula, mainly because there hasn\u2019t been a thorough examination of extant intabulations in manuscript.<br \/>\nAn examination of these intabulations further supports the conceptual framing of <em>intavolatura<\/em> as a system of conventions \u2013 a system that was tacitly understood by scribes as well as printing houses. An investigation into scribal habits further highlights the functioning of <em>intavolatura<\/em> as a kind of lute tablature for keyboard that used mensural notation in place of figures. At the same time, the use of mensural notation allowed for instances in which scribes use <em>intavolatura<\/em> as a kind of \u2018partitura\u2019, ignoring its conventions and rules in order to show the original voice leading of the polyphonic model. In their very divergence from <em>intavolatura<\/em> convention these instances further solidify the systematic conception of <em>intavolatura<\/em>; at the same time, they also show that scribes were aware of the possibility of bypassing the rules for the sake of showing polyphonic detail.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><div class=\"toggle-content\"><p>\n<strong>Ian Pritchard<\/strong>, harpsichordist, organist, and musicologist, is a specialist in early music and historical keyboard practices. A Fulbright scholar, he earned his PhD in musicology from the University of Southern California; his research interests include keyboard music of the late Renaissance and early Baroque, improvisation, notation, compositional process, and performance practice. Ian has released two discs of solo keyboard music, and has worked as a continuo player with many leading ensembles in Europe and the United States. Ian is currently based in Los Angeles, where he serves as Chair of Music History and Literature at the Colburn School Conservatory of Music. He also serves as music director of the Los Angeles-based ensemble Tesserae. In 2015 he was elected an Associate of the Royal Academy of Music.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#0\">Article<\/a><br \/>\n<a href=\"#1\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/pub.mdw.ac.at\/pubmdw\/publication\/13edb6cc-4370-4228-b461-c7a41535ca2a\" target=\"_blank\" rel=\"nofollow\" style=\"color:#000000 !important;\">Chapter PDF<\/a><\/span>\n<div class=\"motto\">\n<p style=\"font-family: sans-serif; text-align: right; margin-bottom: 1.2cm;\">Dedicated to the memory of Liuwe Tamminga (1953\u20132021)<\/p>\n<\/div>\n<p id=\"0\">Due to the fact that the notational signs used in Italian keyboard <em>intavolatura<\/em> are derived from mensural notation, the functional \u2018identity\u2019 of <em>intavolatura<\/em> as a species of tablature is grounded in notational convention \u2013 that is, the ways in which the notation \u2018behaves\u2019 on the page \u2013 rather than through the use of specific figures or signs, such as numbers or letters. The original users of <em>intavolatura<\/em> seemed to largely agree on the use of these conventions (we might call them \u2018rules\u2019),<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> which diverge considerably in some ways from those of modern keyboard notation.<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> In fact, the conventions align <em>intavolatura<\/em> with other figure-based tablature systems used in the Renaissance; as in these other tablatures, the notation in <em>intavolatura<\/em> was conceived on a mechanical basis, in that it prescribes the mechanical actions of the player on the keyboard rather than providing an abstract view of polyphonic structures and voice leading and the like.<\/p>\n<p>While <em>intavolatura<\/em> and its distinctive conventions have been established in modern scholarship, the main emphasis of this scholarship has been on printed sources.<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> Interestingly enough, an examination of extant intabulations in manuscript sources reveals a broad adherence to the same conventions; this would indicate a common understanding of <em>intavolatura<\/em> as a codified and commonly-understood <em>system<\/em>, one shared between its users \u2013 composer, players, scribes, printing houses \u2013 who in turn shared the basic thought processes and procedures that informed the system. At the same time, intabulations in manuscript suggest a greater tendency to depart from the conventions; however, these departures most typically take the form of brief instances within intabulations that otherwise follow them. In fact, these brief flashes of departure only serve to highlight the common adherence to <em>intavolatura\u2019s<\/em> conventions; the rules of <em>intavolatura<\/em> work as a sort of background force, one that works <em>through<\/em> the scribe on a seemingly unconscious or semiconscious basis, whereas the departures seem to deliberately push against that force in a conscious manner.<\/p>\n<p>Many of the instances of rule-breaking seem to be undertaken to reveal the voice leading of the model, deliberately going against the normal functioning of <em>intavolatura<\/em> in obscuring polyphony and voice leading through the action of its conventions. In other words, the intabulators \u2018bend the rules\u2019 in order to treat <em>intavolatura<\/em> like a <em>partitura<\/em>, or full score. In doing so these manuscript intabulations offer the modern reader a unique view on the processes and inner workings of <em>intavolatura<\/em>, including the intabulation process itself.<\/p>\n<p align=\"center\">***<\/p>\n<p>The notational conventions that define <em>intavolatura<\/em> are observable in the majority of works notated in the format, but their exact functioning is most easily observable in intabulations of polyphony, as a comparison of an intabulation with its polyphonic model allows for an in-depth examination of the parallel processes of adaption, (re)composition, and notational convention.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> In general, the majority of extant intabulations follow them. Here is a rather typical example from the Bardini Codex, an anonymous intabulation of Rore\u2019s chanson \u2018En voz adieux\u2019 (Ex. 1). All of <em>intavolatura<\/em>\u2019s conventions are more or less observable here.<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-1-part-1-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-1-part-2-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 1:<\/b> A comparative model showing Rore\u2019s chanson \u2018En voz adieux\u2019 (top four staves), alongside a transcription of the intabulation (anon.) from the Bardini Codex, mm.\u00a016\u201323, fol.\u00a089<sup>r<\/sup>\u201389<sup>v<\/sup> (I\u2011Fmba\u00a0Ms.\u00a0967). The dots \u2013 which seemingly reinforce the key signature \u2013 are in the source.<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC)<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a>:<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(1).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>To begin, the best-known feature of <em>intavolatura<\/em> is readily seen: the four parts of the original polyphony are arranged so that the notes to be played by the right hand are put in the top staff and the notes by the left in the bottom. As Augusta Campagne has convincingly demonstrated, the <em>de facto<\/em> arrangement for an intabulation in Italian keyboard <em>intavolatura<\/em> was for the top part to be placed on the top staff, and the bass and remaining middle parts (what Girolamo Diruta calls the <em>parti di mezzo<\/em>) in the left.<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> We can see this clearly in mm.\u00a016\u201318, with the bass and the middle parts all put on the bottom staff.<\/p>\n<p>Other <em>intavolatura<\/em> conventions can be observed in this example as well: in m.\u00a020, the alto voice is given an upward stem on the third beat, making it appear as if it belongs to the soprano voice that follows; in the fourth beat it moves to the bottom staff and appears in the tablature as if it belongs to the tenor. We see a similar thing in m.\u00a016, in which the tenor <em>c<sup>1<\/sup><\/em> is restruck and given a downward stem; in the tablature this makes it look as if the bass and tenor form a continuous, single part. This practice represents another fundamental element, one that further defines <em>intavolatura<\/em> as a distinct notational system: the stem direction of a given note is dictated by its vertical placement in the score, rather than its role within one of the polyphonic parts. This results in \u2018composite\u2019 parts \u2013 formed of individual notes taken from, say, the tenor and the bass parts in the polyphony \u2013 created using the same process as a basso seguente part. When it happens in the upper voices, there is the parallel effect of a \u2018soprano seguente\u2019 part.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/p>\n<p>The Rore intabulation contains other typical <em>intavolatura<\/em> conventions. The long notes in m.\u00a019 and m.\u00a021 (the soprano breve and bass semibreve in m.\u00a019; the dotted alto <em>d<sup>1<\/sup><\/em> breve in m.\u00a021) are split into shorter ones; in this case they are given ties although this could just easily not have been the case. In fact, from an understanding of performance conventions on plucked keyboard instruments during this time period, we know that ties might be broken in performance to avoid \u2018leaving the [plucked keyboard] instrument empty\u2019.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a> In general, the practice of splitting longer notes into shorter ones \u2013 with ties or not \u2013 contributes to an inherent \u2018verticalization\u2019 of <em>intavolatura<\/em>, with polyphony reduced and made to coalesce around a structure of regular pulses (most typically at the minim level), an effect that has some parallels with the rhythmic system used in French and Italian lute <em>intavolatura<\/em>.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/p>\n<p>Another typical convention is seen in the treatment of rests. In general rests in the polyphony are <em>not<\/em> notated when put into the tablature (\u2018to not entangle with or confuse the other notes\u2019, as Diruta advises);<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a> this is seen here in m.\u00a016. However, in m.\u00a020 a rest that is <em>not<\/em> in the original is added. Often these added rests have a purely mechanical function: to simply inform the player to remove their finger from a key (we might call these mechanical rests, as they are literal instructions for a physical action). The added rest in m.\u00a020, however, seems to be intended to clarify or signal the entrance of the tenor <em>c<sup>1<\/sup><\/em> \u2013 which, of course, is not the actual tenor of the model. This is what Alexander Silbiger called a \u2018fictitious rest\u2019.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a> The <em>intavolatura<\/em> conventions work together to provide the <em>appearance<\/em> of voices that don\u2019t exist in the model but work perfectly well and logically in the tablature; in other words, <em>intavolatura<\/em> notation presents a kind of score made up of the composite voices formed from the crossing of parts and the vertical placement of the individual notes. The functional existence of these composite voices is reinforced by the shared stem directions, which give the false impression of individual lines in a full score. In fact, all of <em>intavolatura<\/em>\u2019s conventions work in concert to create this general effect. To expand upon Silbiger\u2019s conception of \u2018fictitious rests\u2019, in a very real sense <em>intavolatura<\/em> has \u2018fictitious voices\u2019 or better, tablature voices (\u2018tablature\u2019 in that they only exist in the tablature) that derive from yet supersede the original voices of the polyphony. In fact, they are conceptual and material <em>recreations<\/em> of the voices of the polyphony.<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/p>\n<p>Tablature voices and the conventions of <em>intavolatura<\/em> also share a common link by virtue of being rooted in what we might identify as the idiom of 16th-century keyboard playing: the \u2018unwritten traditions\u2019 of keyboard playing in the <em>cinquecento<\/em>, which have to be seen as a broad set of musical activities that were largely grounded in improvisation but also included technical elements such as fingering, and composition.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a> In Ex. 2, a fragment from an intabulation of Lasso\u2019s ubiquitous <em>\u2018<\/em>Susanne un jour\u2019, we can clearly see the tendency of <em>intavolatura<\/em> to \u2018translate\u2019 vocal polyphony into idiomatic 16th-century keyboard textures.<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-2--scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 2:<\/b> Lasso\u2019s \u2018Susanne un jour\u2019; bottom staves: transcription of the intabulation from the Layolle manuscript, mm.\u00a025\u201330, fol.\u00a021<sup>r<\/sup>\u201321<sup>v<\/sup> (I-Fl Ms. Acquisti e Doni 641).<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(2).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>As part of this process of translation, the complexity of the original polyphony is often reduced into textures that point towards a homophonic musical conception.<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a> Note, for example, the \u2018blatant\u2019 parallel fifths and octaves (mm.\u00a025, 28), including the use of what we might call \u2018filled octaves\u2019 (after Galeazzo Sabbatini) in the left hand.<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a> Highlighting the closeness of this intabulation to idiomatic keyboard playing is the fact that the parallels are <em>not<\/em> a by-product of applying the normal <em>intavolatura<\/em> notational conventions to Lassus\u2019 original polyphony, but are due to the recomposition of the polyphony by the intabulator: they are the product of the intabulator\u2019s arranging, not Lassus.<\/p>\n<p>The link with idiomatic keyboard music further highlights the fact that <em>intavolatura<\/em>\u2019s conventions are interconnected, working in tandem to inform a <em>system<\/em>, a notational format that, for practical purposes, meets what we might call the standard \u2018criteria\u2019 for defining a tablature notation. As Alexander Silbiger succinctly put it:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">One way of characterizing tablature notation is to say that it provides no information beyond what is required to realize a piece of music physically; or to put it less kindly: tablature addresses the fingers of the players rather than their musical understanding \u2013 their bodies rather than their minds.<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/p>\n<\/blockquote>\n<p>The conventions work together to create a notation that meets this ideal of \u2018finger notation\u2019; polyphonic detail is hidden by the action of the conventions, which seem obviously geared towards the practical expediencies of keyboard playing. Conceptually, it makes sense to view <em>intavolatura<\/em> as a close cousin of lute <em>intavolatura<\/em>, one that happened to use mensural signs as opposed to figures, lines, and flags. In this view, <em>intavolatura<\/em> remains, like lute <em>intavolatura<\/em>, an essentially graphical notation; the mensural notational signs are actually \u2018figures\u2019 that represent the literal action of depressing a key for a given length of time, rather than the more abstract representation of sounding tones. Such a view explains, for instance, the reasoning behind the bottom and top staves prescribing the disposition of parts between the left and right hands, and so forth.<\/p>\n<p>At the same time, keyboard <em>intavolatura<\/em> cannot \u2018construct\u2019 its identity through the use of symbols like other tablature notations do; Italian lute tablature or German organ tablature are obviously removed from mensural notation because they don\u2019t use its signs, and their direct relationship to performance is made clear by the graphical representation of the <em>elements<\/em> of performance, such as keys, frets, and strings. However, Italian keyboard tablature does not have the luxury of using graphical signs to unambiguously tell us that it is a tablature, geared towards playing rather than \u2018musical understandings\u2019. This leads to a certain level of ambiguity that is inherent to the system itself: it would be relatively easy for users of keyboard <em>intavolatura<\/em> to treat the two staves as a <em>partitura<\/em>, using stem directions of the notes to make clear which notes belong to which polyphonic voice, as opposed to obscuring the voice leading through the use of fictitious voice leading. As Silbiger demonstrated, this was the normal state of affairs not just in modern keyboard practice, but also in many historical systems that used two staves and mensural notation, from English Renaissance keyboard music to Bach fugues.<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a> Two-staff keyboard notation has a ready ability to adequately demonstrate complex voice leading, but <em>intavolatura<\/em>\u2019s users normally ignored this possibility. In fact, the many instances in which they <em>don\u2019t<\/em> ignore this possibility, bending <em>intavolatura\u2019s<\/em> conventions to treat the notational like a <em>partitura<\/em>, only demonstrate the importance of the point.<\/p>\n<p align=\"center\">***<\/p>\n<p>It is obvious that establishing a global functioning for <em>intavolatura<\/em> \u2013 one that held for the vast majority of keyboard music written down in Italy in the 16th and 17th centuries \u2013 would entail that the majority of music notated in the format demonstrates a general adherence to the conventions described above. Luckily, a thorough examination of sources in <em>intavolatura<\/em> shows this to be the case. Even a quick scan through the Bardini Codex (from which Ex.\u00a01 was taken) reveals a broad alignment with <em>intavolatura<\/em> and its functioning on the part of its scribe. In fact, while various sources may show different overall degrees of adherence, sources using <em>intavolatura<\/em> generally show a basic adoption of its conventions. This is especially the case when taking the role of individual scribal habit into account; it is very rare to find a single source, for example, that completely ignores <em>all<\/em> of the conventions of <em>intavolatura<\/em>. Rather, we see individual intabulations that show instances in which the \u2018rules\u2019 were not followed entirely: a scribe puts one too many notes in a staff or in a chord, creating a brief moment of a rather unidiomatic keyboard texture, or overcrowds the staff through the use of too many rests. In these instances, the system is still at play but its rules are bent a bit. In most cases, these examples stick out for being in an intabulation that otherwise <em>does<\/em> stick to the conventions, making them momentary instances of aberration rather than system-wide, defining features.<\/p>\n<p>Each of the following examples (Exs.\u00a03\u20135) is transcribed from a separate manuscript source, but in each we can observe a general adherence to <em>intavolatura<\/em>\u2019s conventions, with a few deviations here and there. The first is from Ruffo\u2019s madrigal \u2018Per monti aplestri\u2019, from the Pietro Francese manuscript (Ex. 3).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-3-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 3:<\/b> Top staves: Ruffo\u2019s \u2018Per monti alpestri solitari et hermi\u2019; bottom staves: transcription of the anonymous intabulation from the Pietro Francese manuscript, mm.\u00a019\u201323, fol.\u00a03<sup>r<\/sup> (D-Mbs Mus Ms. 9437).<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(3).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>Here, the intabulator\u2019s apparent desire to faithfully transcribe the original polyphony leads to the inclusion of chord voicing that is decidedly unidiomatic, with awkwardly held tied notes in the middle of chords. At the same time, the conventions of <em>intavolatura<\/em> are followed broadly; see, for example, the seguente bass in mm.\u00a020\u201321, and the treatment of the unison in the last measure of the example. In the second example, an anonymous intabulation of Maschera\u2019s <em>Canzona Quinta<\/em> (\u2018La Maggia\u2019) from the Castell\u2019Arquato collection (Ex. 4), the inclusion of rests from the bass part in mm.\u00a039\u201340 goes against <em>intavolatura<\/em> convention; usually these rests from the polyphony would not be notated. However, at the same time, stem direction rules are generally followed (for example, the treatment of the alto <em>a<sup>1<\/sup><\/em> and tenor <em>f#<sup>1<\/sup><\/em> in the top staff in m.\u00a041), as is the staves-for-hands prescription (see the disposition of parts between the staves in the same measure).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/06\/example-4.png\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 4:<\/b> Top staves: Maschera\u2019s <em>Canzona Quinta La Maggia<\/em>; bottom staves: transcription of the anonymous intabulation from the Castell\u2019Arquato manuscripts, fasc.\u00a010, mm.\u00a038\u201341, fol.\u00a08<sup>r<\/sup>\u201311<sup>r<\/sup> (I-CARcc).<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(4).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>The third example is taken from yet another anonymous intabulation, this one of Arcadelt\u2019s \u2018Occhi miei lassi ben\u2019 (Ex. 5). This is also from Castell\u2019Arquato, although, it should be noted, from a different scribe than the Maschera intabulation.<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a> Immediately notable are the several instances of \u2018unnecessary\u2019 rests; in normal <em>intavolatura<\/em> practice these rests would not be notated. In addition, there are several awkwardly large intervals that challenge the playability of the intabulation, as seen, for example, in m.\u00a036. At the same time, however, a general adherence to <em>intavolatura<\/em> convention can again be seen; in, for example, the treatment of the unison <em>d<sup>1<\/sup><\/em> between the alto and tenor in m.\u00a040.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-5-part-1-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-5-part-2-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 5:<\/b> Top staves: Arcadelt\u2019s \u2018Occhi miei lassi ben\u2019; bottoms staves: transcription of the anonymous intabulation from the Castell\u2019Arquato manuscripts, fasc.\u00a01, mm.\u00a035\u201343, fol.\u00a01<sup>v<\/sup>\u20132<sup>r<\/sup> (I-CARcc).<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(5).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>Therefore, while it is not uncommon to see exceptions to <em>intavolatura<\/em> convention, these exceptions are often contextualized within a general adherence to the conventions. In general, the old adage of the \u2018exception to prove the rule\u2019 seems to apply here. To think of it another way, <em>intavolatura<\/em> seems to be a constant background force in the minds of these intabulators, perhaps even operating on a subconscious or semi-subconscious level. In fact, the cognitive dissonance between a broad adherence to <em>intavolatura<\/em> conventions and the many instances in which the conventions are deviated from only highlights the mental \u2018acceptance\u2019, on the part of scribes and printers, of the <em>systematic<\/em> nature of <em>intavolatura<\/em>: its identity as a notational format as defined by a set of commonly-understood and intertwined set of conventions and unwritten rules.<\/p>\n<p align=\"center\">***<\/p>\n<p>Of course, if <em>intavolatura<\/em> operated as a distinct notational system with a commonly-understood set of conventions, one must ask why a scribe, publisher, or composer would ever depart from them. In the case of printed volumes, many instances of departure can at least partially be explained as the product of technological limitations. This has already been pointed out by scholars, and it is especially illuminated when comparing volumes produced using moveable type and volumes that were printed from copper plates; a classic example seen in the comparison between Merulo\u2019s keyboard music printed using moveable type, such as the canzonas, and the toccatas, which were published by Verovio in Rome using <em>intaglio<\/em> techniques. The two volumes of toccatas demonstrate far more notational nuance and detail, while the canzonas show many instances in which one gets the sense that the notation was being pushed to its very limits.<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-6a-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 6a:<\/b> Top staves: Lasso, \u2018Susanne un iour\u2019; bottom staves: Andrea Gabrieli, \u2018CANZON deta Susanne un iour A Cinque Voci d\u2019Orlando Lasso\u2019, mm.\u00a08\u20139, [n.p.], in: <em>Canzoni alla francese et ricercari ariosi, tabulate per sonar sopra istromenti da tasti [\u2026] libro quinto<\/em> (Venice: Angelo Gardano, 1605).<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(6a).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>In Ex.\u00a06, two excerpts from Andrea Gabrieli\u2019s intabulation of Lasso\u2019s \u2018Susanne un jour\u2019 (which was printed in 1605 using moveable type), many instances can be observed in which Gabrieli (or someone in the Gardano firm, or perhaps Giovanni Gabrieli) goes against typical <em>intavolatura<\/em> convention in order to show Lasso\u2019s original voice-leading.<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a> The tie in the left hand of m.\u00a08 (Ex.\u00a06a) is used to show that the two <em>b-flat<\/em>\u2019s both belong to the <em>quintus<\/em>; without it, the stem directions \u2013 which do follow normal <em>intavolatura<\/em> procedure \u2013 would obscure this fact, leading one to believe that the notes had originally belonged to different voices. While long notes in <em>intavolatura<\/em> were typically split into shorter ones, as shown earlier, in this case the tie connects two notes that appear visually to be in different voices, at least in the tablature; if the tie were followed literally (and not broken in performance), it would also entail a rather awkward finger substitution. The dotted <em>b-flat<\/em> on the third beat \u2013 quite a finicky notational detail to include normally \u2013 does the same thing. The distribution of the chords in m.\u00a042 (Ex.\u00a06b) (including a stretch of a twelfth) is quite unidiomatic in terms of <em>intavolatura<\/em> convention and to the idiom and style of 16th-century Italian keyboard music.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-6b-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 6b:<\/b> Top staves: Lasso, \u2018Susanne un iour\u2019; bottom staves: Andrea Gabrieli, \u2018CANZON deta Susanne un iour A Cinque Voci d\u2019Orlando Lasso\u2019, mm.\u00a042\u201343, fol. 3<sup>r<\/sup>, in: <em>Canzoni alla francese et ricercari ariosi, tabulate per sonar sopra istromenti da tasti [\u2026] libro quinto<\/em> (Venice: Angelo Gardano, 1605).<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(6b).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>It is also worth noting that including these details in the printing process must have cost additional labour and effort (this is perhaps especially noticeable when looking at the original source \u2013 see Fig.\u00a01). For rather obvious reasons, it was much easier for a scribe (or a printing house using <em>intaglio<\/em> technique) to include this sort of notational detail, rather than a print shop using moveable type technology. The fact they are included, costs and labour notwithstanding, adds weight to the importance of their inclusion.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/figure_1-scaled.jpg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Fig. 1:<\/b> Andrea Gabrieli, \u2018CANZON deta Susanne un iour A Cinque Voci d\u2019Orlando Lasso\u2019, mm.\u00a041\u201344, in: <em>Canzoni alla francese et ricercari ariosi, tabulate per sonar sopra istromenti da tasti [\u2026] libro quinto<\/em> (Venice: Angelo Gardano, 1605), 3<sup>r<\/sup>.<\/span><\/p>\n<p>Having said that, instances such as the ones shown in Gabrieli\u2019s intabulation are also fairly common in manuscript intabulations, indicating that print limitations are far from the only reason to explain instances in which <em>intavolatura<\/em> conventions were not followed. Highly intriguing are examples in which the rules of <em>intavolatura<\/em> \u2013 which generally work to <em>hide<\/em> polyphonic detail in favour of playability \u2013 are broken in order to reveal polyphonic voice leading.<\/p>\n<p>It is notable that the vast majority of these \u2018rule breaking\u2019 episodes seem to be grounded in what appears to be an attempt, on the part of the scribe, to use the tablature as a <em>partitura<\/em>; in doing so, the scribe goes against the general ethos and aesthetic \u2013 and, of course, the conventions \u2013 of <em>intavolatura.<\/em> However, the possibilities of <em>intavolatura<\/em> being used as a <em>partitura<\/em> seemed apparent to many scribes, some going so far as to use special symbols or techniques to reveal voice-leading of the original polyphony, pushing against the \u2018natural\u2019 tendency of <em>intavolatura<\/em> to hide it. One of the two scribes of the Layolle manuscript consistently uses a <em>custos<\/em> or direct sign<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a> to signal instances in which voices move from stave to stave.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a> These signs thus clarify the original polyphony of the model, pushing back against <em>intavolatura<\/em>\u2019s conventions as they \u2018blindly\u2019 work to hide the original voice motion \u2013 this blind functioning is again cast into relief by the fact that the intabulation normally <em>does<\/em> follow the conventions. Interestingly enough, in other intabulations rests can be used for a similar purpose (the fictitious rest in the left hand of m.\u00a042 seems to clearly be used to indicate the fact that tenor part moves from the bottom to the lower staff in Ex.\u00a06a above), although here the signs are clearly visually distinct from rests.<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/p>\n<p>The intabulation of Berchem\u2019s \u2018O s\u2019io potessi donna\u2019 (Ex.\u00a07) clearly demonstrates the functioning of these <em>custos<\/em> signs. In a sense, the scribe uses them to <em>subvert<\/em> the tendency of <em>intavolatura<\/em> to hide this sort of detail automatically. In m.\u00a031, the sign is used to signal that the tenor moves to the right-hand staff on the downbeat, and is then used again for its return to the left-hand staff in m.\u00a033. In m.\u00a032, a slew of custos signs is used (four in total!), to signal swapping between the two <em>parti di mezzo<\/em> on the two staves. The tendency on the part of the scribe to prevent voice-leading from being hidden by <em>intavolatura<\/em> is further supported by the fact that they often combine the use of the custos signs with double stems, which are of course wholly unidiomatic to <em>intavolatura<\/em> and its normal \u2018suppressing\u2019 of double-stemmed notes. The double-stemmed notes are used, however, to show unisons that occur in the polyphonic model \u2013 see, for example, the double-stemmed <em>g<\/em> in the left-hand of m.\u00a033 (Ex.\u00a07a), or the double-stemming (in two voices) in m.\u00a044 (Ex.\u00a07b). Yet, at the same time we can still observe the background action of <em>intavolatura<\/em> conventions as a global force throughout the intabulation as a whole. In m.\u00a034, the voice leading is obscured between the inner parts as the intabulator follows the general rules for stem directions; in addition, unisons are not treated uniformly: the unison between the alto and the tenor in m.\u00a031 (Ex.\u00a07a) is <em>not<\/em> given a double-stem, nor are the unisons in m. 43 (Ex.\u00a07b) on the third and fourth beats. Note that the unison on the downbeat of m. 44 <em>is<\/em> double-stemmed, however. This might indicate that, again, <em>intavolatura\u2019s<\/em> conventions were seen as an undeclared background force, one that was perhaps understood subconsciously by the intabulator \u2013 or perhaps consciously as they felt the need to \u2018push against\u2019 it.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-7a-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 7a:<\/b> Top staves: Berchem\u2019s madrigal \u2018O s\u2019io potessi donna\u2019; bottom staves: transcription of the intabulation from the Layolle manuscript (by Alamanne de Layolle?), mm.\u00a030\u201334, fol.\u00a04<sup>v<\/sup> (I-Fl Ms. Acquisti e Doni 641).<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(7a).mp3\"><\/audio><br \/>\n<\/figure>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/06\/example-7b-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 7b:<\/b> mm.\u00a042\u201344, fol.\u00a05<sup>r<\/sup>.<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(7b).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>As a side note, many of the particular scribal habits seen in the intabulations in the Layolle manuscript \u2013 notably, especially those attributed to Alamanne de Layolle by Frank d\u2019Accone \u2013 are also observable in the intabulations of Pierre Attaingnant (but not the use of the <em>custos<\/em> sign to show voice leading). In Ex.\u00a08, from Attaingnant\u2019s <em>Vingt et cinque chansons musicales reduictes en la tabulature<\/em> (1530), \u2018unnecessary\u2019 rests taken from the original polyphonic parts are seen in the bottom staves of mm.\u00a011 and 15 (as shown above, this is not a typical feature of Italian <em>intavolatura.<\/em>)<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-8-part-1-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-8-part-2-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 8:<\/b> Top staves: Janequin\u2019s \u2018Aller my fault\u2019; bottom staves: transcription of the intabulation from Attaingnant\u2019s <em>Vingt et cinque chansons musicales reduictes en la tablature<\/em> (Paris: Attaingnant, 1530), fol.\u00a041, mm.\u00a010\u201317. In my transcription, notes have been transcribed into modern types, although details such as hand distribution, rest placement, and stem direction and length have been transcribed accurately.<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(8).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>At the same time, many of the conventions of Italian <em>intavolatura<\/em> can be observed \u2013 most importantly, the \u2018staves for hands\u2019 rule \u2013 although not all of them; for example, the adoption of stem direction based on the vertical placement of the note in the staff is not followed consistently (see note\u00a02 above). Still, a broader examination of the connections between Attaingnant\u2019s published intabulations and <em>intavolatura<\/em> \u2013 and, more broadly, the relationship between Attaingnant\u2019s notation and <em>intavolatura<\/em> \u2013 is needed, especially as Daniel Heartz has pointed to hints of connection between French publishers and prominent early prints and print shops involved with <em>intavolatura<\/em>.<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/p>\n<p>***<\/p>\n<p>Broadly speaking, the discussion above highlights the utility of examining the intabulation process as a way to see the \u2018inner-workings\u2019 of <em>intavolatura \u2013<\/em> and, perhaps, the inner working of the mind of the intabulator as well \u2013 in that this process clearly demonstrates awareness of both <em>intavolatura<\/em> as a system and the possibility of breaking its conventions. One instance \u2013 an anonymous intabulation of Arcadelt\u2019s \u2018Se per colpa\u2019 from the Castell\u2019Arquato collection \u2013 is arguably an \u2018intabulational\u2019 sketch and therefore offers a glimpse of the intabulation process itself; if this is the case, it would be one of the few examples we have of this that is specific to keyboard <em>intavolatura<\/em>.<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a> This intabulation likewise shows an attempt to use <em>intavolatura<\/em> as a <em>partitura<\/em>, while also revealing an awareness of the basic functioning of <em>intavolatura<\/em>\u2019s rules and conventions.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-9a-part-1-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/03\/example-9a-part-2-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 9a:<\/b> Top staves: Arcadelt\u2019s \u2018Se per colpa\u2019; bottom staves: transcription of the intabulation from the Castell\u2019Arquato manuscripts, fasc.\u00a05, mm.\u00a01\u20138, fol.\u00a022<sup>v<\/sup>.<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(9a).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>The sketch is in three staves as opposed to the normal two; this is similar to the notation of many of the keyboard works attributed to Veggio in the collection, and is in fact a tendency common to one particular scribe. At first glance, the intabulation appears to be an attempt to write a complete <em>partitura<\/em> rather than a tablature. The normal <em>intavolatura<\/em> rule of stem directions is not followed at all; instead stems are used to clarify the contour of the original voices. Perhaps somewhat ironically, this lends further credence to the existence of \u2018tablature voices\u2019: that is, the notion that series of notes with the same stem direction in a tablature can be interpreted as constituting a new tablature part. However, at the same time this intabulation clearly seems meant to work as an idiomatic keyboard adaption: note the adaption of the polyphony into a more squarely chordal texture with the restriking of chords (m.\u00a02 and 3, Ex.\u00a09a), the addition of parts (m.\u00a06, Ex.\u00a09a), and even the extension and restriking of chords into rests (m.\u00a08, Ex.\u00a09a). Stereotypical keyboard ornamental figures are added, and the polyphony is briefly rearranged to accommodate them. This rearrangement of the original voice leading is also used to facilitate a more generally idiomatic texture, one that is more normally seen in intabulations.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/06\/example-9b-scaled.jpeg\" alt=\"\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Ex. 9b:<\/b> mm.\u00a035\u201338, fol.\u00a023<sup>r<\/sup>.<\/span><\/p>\n<figure><figcaption>Listen to the example (CC BY-NC):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/pritchard-audio\/data\/Pritchard%20(9b).mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<p>In addition, there are fascinating instances in which the <em>parti di mezzo<\/em> briefly swap places. These usually only last for a few beats, and seem to be a continuation of the \u2018keyboardistic\u2019 logic in the transcription (and a kind of preparation for the creation of proper tablature parts?), and\/or to facilitate the inclusion of diminutions in another part. For example, in m.\u00a037 (Ex.\u00a09b) the tenor part of the vocal original \u2013 which is usually placed in the right hand in the intabulation \u2013 briefly migrates to the left hand. Is this to facilitate the upcoming <em>passaggio<\/em> (also in m.\u00a037) in the soprano? It also makes sense to allow the \u2018tablature alto\u2019 (that is, the implied lower voice in the right-hand staff) to continue its logical journey that begins on the <em>g<\/em> in m.\u00a035, instead of swapping back up to the <em>b<\/em> as the polyphonic tenor continues in m.\u00a037. In fact, it could be argued that the logical continuation of the <em>c<sup>1<\/sup><\/em> in the intabulation from mm.\u00a035 to 36 kicks off the whole swapping of parts in the first place; note that this also includes a brief rearrangement of the polyphony in m.\u00a036, with the addition of the <em>c<sup>1<\/sup><\/em> in the left hand of the tablature and the absorption of the tenor\u2019s rest and <em>g<\/em> into the long <em>g<\/em> of the polyphonic alto part. This sort of rearrangement (or recomposition) is commonly observed in intabulations. It is also interesting that the chords formed in places such as the last beats of mm.\u00a035 and 38 are the typical \u2018filled octave\u2019 chords \u2013 an octave with a fifth in the left hand \u2013 so commonly seen in <em>cinquecento<\/em> keyboard style. The brief instance of recomposition in m.\u00a036 \u2013 in which the filled-octave chord in m.\u00a035 is extended in favour of Arcadelt\u2019s original polyphony \u2013 highlights the point.<\/p>\n<p>In general, this intabulation appears to be a hybrid intavolatura-partitura. I wonder if it might be an example of a \u2018prep score\u2019 for what might have eventually become a more run-of-the-mill type of intabulation, or in other words a version of the score that Diruta advises beginners to make from part-books before intabulating.<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a> The use of three staves might facilitate the process overall. If so, this might once again indicate an awareness of <em>intavolatura<\/em> as a background force: I think we could even ask ourselves if intabulators were even consciously aware of the system they may have been attempting to \u2018hack\u2019 when breaking the rules of intabulation.<\/p>\n<p>***<\/p>\n<p>As recent scholarship has demonstrated, intabulations and tablature notations are long overdue for a more thorough examination. In the present case, even a brief examination like the one conducted in this article shows that they can reveal quite a lot about the musical thought processes and conceptions of keyboardists in the Renaissance. These would include not only abstract musical conceptions and musical practices, but also the way in which these conceptions and practices were translated into a functioning notational system. Therefore, on a broader level, one could argue that a thorough examination of intabulations is absolutely essential to any study of improvisation and composition in Renaissance culture.<\/p>\n<h4>Endnotes<\/h4>\n<aside id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>This is especially the case if we consider <em>intavolatura<\/em> as the result of a process that can in turn be described through a set of rules. This is indicated by a reading of treatises that address the various formats of tablature; for example, in a survey of instructions related to lute tablature (see Dinko Fabris, \u2018Lute Tablature Instructions in Italy: A Survey of the Regole from 1507 to 1759\u2019, in: <em>Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation<\/em>, ed. Victor Anand Coelho [Cambridge, 1997], 16\u201346; repr. in: <em>Musical Theory in the Renaissance: A Library of Essays on Renaissance Music<\/em>, ed. Christle Collins Judd [Burlington VT, 2013], 451\u201382). The same \u2018rule-based\u2019 approach is also observed in the chapter on intabulation in Hans Buchner\u2019s <em>Fundamentum<\/em>; see Hans Buchner, <em>S\u00e4mtliche Orgelwerke<\/em>, ed. Jost Harro Schmidt, 2\u00a0vols., EdM 54\/55 (Frankfurt am Main, 1974), 14\u20137. The classic guide to intabulating in Italian keyboard <em>intavolatura<\/em> is found in the <em>primo libro<\/em> of Girolamo Diruta\u2019s <em>Seconda parte del Transilvano<\/em> (Venice: Giacomo Vincenti, 1609); again, for Diruta the notational format can be seen as the product of <em>intabulating<\/em>, which is in turn definable as a codified process made up of a series of rules or steps.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>The degree to which Italian organ <em>intavolatura<\/em> differs from other sixteenth-century notations that used two staves and mensural notation, such as those used for early French, Dutch, and English keyboard music \u2013 and therefore should be considered a unique specimen of notation \u2013 does not seem to be the subject of scholarly consensus. For example, in a recently posted presentation, John Griffiths seems to consider <em>intavolatura<\/em> as part of a broad category of \u2018matrix tablatures\u2019 (as opposed to \u2018fingerboard tablatures\u2019); the category of matrix tablature includes all of the aforementioned two-staff mensural tablatures in addition to figure-based tablature systems. See John Griffiths, \u2018Turning the Tables: Reassessing Tablature\u2019 (presentation, 2021 Annual Conference of the Musicological Society of Australia, December 9. 2021), 6\u20138. Presentation notes accessible on academia.edu: &lt;<a href=\"https:\/\/www.academia.edu\/63608978\/Turning_the_tables_reassessing_tablature%3e\">https:\/\/www.academia.edu\/63608978\/Turning_the_tables_reassessing_tablature&gt;<\/a> (accessed 1\u00a0March 2022). However, Alexander Silbiger demonstrates that the conventions of <em>intavolatura<\/em> differ substantially from those of the notation used in, for example, Elizabethan England. See Alexander Silbiger, \u2018Is the Italian Keyboard \u201cIntavolatura\u201d a Tablature?\u2019, in: <em>Recercare<\/em> 3 (1991), 81\u2013103, esp. 95\u20137. In addition, the intabulations of the Paris-based publisher\u00a0Pierre Attaingnant show some similarities with <em>intavolatura<\/em> \u2013 such as the convention of the staves prescribing the notes to be taken by each hand (see below) \u2013 but they don\u2019t share all of the same conventions, such as the consistent tendency to hide the voice leading of the polyphony through the omission of rests, or organizing stem direction around the vertical placement of the note on the staff. While the matter needs more comparative research to be fully resolved \u2013 unfortunately, the available modern transcription of the Attaingnant prints do not transcribe all of the notational details in an entirely accurate manner, including the distribution of notes between the two hands \u2013 I would argue that <em>intavolatura<\/em> deserves its distinction as a unique system, and for the purposes of the present article it will be treated as such. I will also argue that it shares conceptual similarities with the \u2018fingerboard\u2019 tablatures. For the available modern edition of Attaingnant\u2019s intabulations, see Pierre Attaingnant, <em>Transcriptions of Chansons for Keyboard<\/em>, ed. Albert Seay, CMM\u00a020 (n.p.: AIM, 1961).<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Italian keyboard <em>intavolatura<\/em> was the object of some scrutiny at the end of the last century; see Silbiger, \u2018Is the Italian Keyboard \u201cIntavolatura\u201d a Tablature?\u2019, Giuseppe Clericetti, \u2018Criteri per un\u2019edizione moderna della musica per strumenti a tastiera di Andrea Gabrieli\u2019, in: <em>Andrea Gabrieli e il suo tempo<\/em>, ed. Francesco Degrada, Studi di musica veneta 11 (Florence, 1987), 353\u201386, and Paul Anthony Luke Boncella, \u2018The Classical Venetian Organ Toccata (1591\u20131604): An Ecclesiastical Genre Shaped by Printing Technologies and Editorial Policies\u2019, PhD thesis, Rutgers University, 1991, 122\u201341.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>For more, see the first chapter of my dissertation, Ian Pritchard, \u2018Keyboard Thinking: Intersections of Notation, Composition, Improvisation, and Intabulation in Sixteenth-Century Italy\u2019, PhD thesis, University of Southern California, Los Angeles, 2018. See &lt;<a href=\"https:\/\/ianpritchardearlykeyboards.com\/intavolatura-projects\/\"><u>https:\/\/ianpritchardearlykeyboards.com\/intavolatura-projects\/<\/u><\/a>&gt; for an in-progress collection of comparative models for intabulations in <em>intavolatura<\/em>; Augusta Campagne\u2019s excellent website also contains comparative models, including several by Verovio: &lt;<a href=\"https:\/\/www.augustacampagne.com\/goodies\">https:\/\/www.augustacampagne.com\/goodies<\/a>&gt; (accessed 4\u00a0August 2023).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>The scribe\u2019s use of accidental dots is a particularity of the Bardini Codex. As Craig Monson explains, these dots are not unusual in and of themselves; however, the scribe uses them in a way that often seems to \u2018reinforce\u2019 the accidentals already shown in the key signature. This is evident in this example; it seems implausible that the dots here are meant to indicate <em>b-naturals<\/em>, but seem to instead \u2018reinforce\u2019 the flats already indicated. For more, see Craig Monson, \u2018Elena Malvezzi\u2019s Keyboard Manuscript: A New Sixteenth-Century Source\u2019, in: <em>EMH<\/em> 9 (1990), 73\u2013128, at 88\u201391.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>The audio examples are played on a copy of the \u2018Queen Elizabeth Virginal\u2019 (Giovanni Baffo, 1594, Victoria and Albert Museum, London), by Curtis Berak, Los Angeles, 1988. Recording: Recorded, edited, and mastered by Vijay Gupta. Download and listen to all examples here: &lt;<a href=\"https:\/\/doi.org\/10.21939\/MYR0-XT52\">https:\/\/doi.org\/10.21939\/MYR0-XT52<\/a>&gt;.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>See Augusta Campagne, <em>Simone Verovio: Music Printing, Intabulations and Basso Continuo in Rome around 1600<\/em>, Wiener Ver\u00f6ffentlichungen zur Musikgeschichte 13 (Vienna, 2018), discussion on pp.\u00a0175\u201377. It is worth noting that while Diruta originally indicates that the alto and tenor should be ideally placed on the bottom staff, the precise placement of the middle parts seem to be tied, more than anything, to the accommodation of ornamentation in one of the two hands: \u2018[\u2026] Le parti de mezo, cio\u00e8 il Tenore, &amp; il Contralto s\u2019accomodano come piu piace, nelle otto righe, overo nelle cinque, per commodit\u00e0 di fare le diminutione.\u2019 Diruta, <em>Seconda parte del Transilvano<\/em>, lib.\u00a01, 2; online: &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/a>&gt; (accessed 1 March 2022). This can be seen in the many elaborate and soloistic intabulations that feature alternating <em>passaggi<\/em> between the two hands; the parts are distributed between the two staves accordingly, to accommodate the ornamentation.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>In fact, combining the soprano and basso seguente parts form a short score, a prominent form of early notation for keyboard accompaniment; for more on types of accompaniment scores around 1600, see Augusta Campagne and Elam Rotem, <em>Keyboard Accompaniment in Italy around 1600: Intabulations, Scores and Basso Continuo<\/em> (Basel: Schola Cantorum Basiliensis, 2022), 73\u2013102.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>After the famous phrase by Girolamo Frescobaldi, in his preface to the <em>Toccate<\/em>. For more, see Luigi Ferdinando Tagliavini, \u2018The Art of \u201cNot Leaving the Instrument Empty\u201d: Comments on Early Italian Harpsichord Playing\u2019, in: <em>EM<\/em> 11 (1983), 299\u2013308.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Silbiger comments on the important role of vertical alignment between parts in <em>intavolatura<\/em>; as he points out, in many sources using the notation, scribes and publishers seem to strive towards as much vertical alignment between parts as possible, and this seems to be a tendency specific to Italian <em>intavolatura<\/em>. See Silbiger, \u2018Is the Italian Keyboard \u201cIntavolatura\u201d a Tablature?\u2019 (see n.\u00a02), 97.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>\u2018[\u2026] non intrichino le notte\u2019. Diruta, <em>Seconda parte del Transilvano<\/em>, lib.\u00a01, 4.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Silbiger, \u2018Is the Italian Keyboard \u201cIntavolatura\u201d a Tablature?\u2019 (see n.\u00a02), 83.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>It is worth noting that these \u2018fictitious voices\u2019 have analogues in other areas of 16th-century keyboard playing: they form a quasi <em>partitura<\/em>, for example (one is immediately reminded of the notable <em>partiture<\/em> printed by Gardano at the end of the 16th century, in full score without text, with an indication for performance on \u2018perfect instruments\u2019); they also function not at all dissimilarly to other tablature systems for keyboard, such as New German organ tablature and Spanish organ tablature, that are also conceptually structured as <em>partiture<\/em>. Angelo Gardano, <em>Musica de diversi autori<\/em> (Venice: Angelo Gardano, 1577) (RISM 1577<sup>11<\/sup>), facsimile ed. (Bologna, 1971); Cipriano de Rore, <em>Tutti i madrigali<\/em> [\u2026] <em>spartiti et accomodati per sonar d\u2019ogni sorte d\u2019Istrumento perfetto<\/em> (Venice: Angelo Gardano, 1577).<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Two recent studies have explored the influence of <em>cinquecento<\/em> keyboard playing on musical style; see Massimiliano Guido, \u2018Counterpoint in the Fingers: A Practical Approach to Girolamo Diruta\u2019s Breve &amp; Facile Regola di Contrappunto\u2019, in: <em>Philomusica on-line<\/em> 11, no.\u00a02 (2012), 64\u201376, &lt;<a href=\"https:\/\/ianpritchardearlykeyboards.com\/intavolatura-projects\/\">http:\/\/riviste.paviauniversitypress.it\/index.php\/phi\/issue\/view\/117<\/a>&gt; (accessed 1 March 2022), and Leon Chisholm, \u2018Keyboard Playing and the Mechanization of Polyphony, Circa 1600\u2019, PhD thesis, University of California, Berkeley, 2015, see esp. ch.\u00a01, 20\u201370.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>The notion of intabulation as a kind of translation from a vocal idiom to an instrumental one was developed by Victor Coelho, and described in his recent monograph with Keith Polk. See Victor Coelho and Keith Polk, <em>Instrumentalists and Renaissance Culture, 1420\u20131600: Players of Function and Fantasy<\/em> (Cambridge, 2016), 213\u20136.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>In fact, the overall style of intabulations such as this one is not dissimilar to the <em>ballo<\/em> repertory of composers such as Marco Facoli, Giovanni Maria Radino, or Giovanni Picchi. Also, see n.\u00a09 above.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>See Augusta Campagne\u2019s discussion of Sabbatini\u2019s <em>Regola facile e breve per sonare il basso continuo<\/em> (1628), in: <em>Simone Verovio<\/em> (see n.\u00a07), 201\u201310, and esp. p.\u00a0205.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Silbiger, \u2018Is the Italian Keyboard \u201cIntavolatura\u201d a Tablature?\u2019 (see n.\u00a02), 93.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>See ibid., 91 and 95\u20136.<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>For more on the various scribes represented in the Castell\u2019Arquato manuscripts, see H. Colin Slim, \u2018Some Puzzling Intabulations of Vocal Music for Keyboard, ca.\u00a01600, at Castell\u2019Arquato\u2019, in: <em>Five Centuries of Choral Music: Essays in Honor of Howard Swan<\/em>, ed. Gordon Paine (Stuyvesant, NY, 1988), 127\u201352.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>For more on the distinction between movable type and <em>intaglio<\/em>, see Campagne, <em>Simone Verovio<\/em> (see n.\u00a07), 27\u201334.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>As Andrea Gabrieli\u2019s keyboard music was published posthumously, it is entirely plausible that some other figure, such as someone working in the Gardano firm, was responsible for Andrea\u2019s intabulation. In fact, it seems likely that this figure might have been Giovanni Gabrieli, perhaps working in the capacity of editor of his uncle\u2019s keyboard music. See David Bryant, \u2018Gabrieli, Giovanni\u2019, in: <em>Grove Music Online, &lt;<\/em><a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40693\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40693<\/a>&gt; (accessed 17 July 2022).<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>This was a practice common in 16th-century English sources; see Silbiger, \u2018Is the Italian Keyboard \u201cIntavolatura\u201d a Tablature?\u2019 (see n.\u00a02), 95. Interestingly, some later French sources also use a <em>custos<\/em> sign, but in the opposite manner, as a sign to take notes in the other hand even as they aren\u2019t notated in the \u2018proper\u2019 staff. Ibid., 99\u2013100.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>Frank D\u2019Accone identifies this scribe as the first owner of the manuscript, the Florentine organist Alamanno Layolle. Interestingly enough, Layolle grew up in Lyon, where his father Francesco worked with the publisher Jacques Moderne and as an organist. See Frank D\u2019Accone, \u2018The \u2018Intavolatura di M. Alamanno Aiolli\u2019: A Newly Discovered Source of Florentine Renaissance Keyboard Music\u2019, in: <em>MD<\/em> 20 (1966), 151\u201374. See n.\u00a026 below for more on potential ties between Italian keyboard <em>intavolatura<\/em> and French publishers. For more on Francesco de Layolle, see Frank D\u2019Accone, \u2018Layolle, Francesco de\u2019, in: <em>Grove Music Online<\/em>, &lt;<a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.16159\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.16159<\/a>&gt; (accessed 17\u00a0July 2022).<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>This was pointed out by Boncella, \u2018The Classical Venetian Organ Toccata\u2019 (see n.\u00a03), 125\u20136.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>See Daniel Heartz, <em>Pierre Attaingnant: Royal Printer of Music<\/em> (Berkeley and Los Angeles, 1969), 40\u20131. Heartz points to possible French connections in the case of both Marco Antonio Cavazzoni\u2019s 1523 volume of <em>Recerchari<\/em> and more broadly for the Rome-based publisher Andrea Antico, whose 1517 volume of intabulated <em>Frottole<\/em> is the first volume using Italian <em>intavolatura<\/em>. See Andrea Antico, <em>Frottole intabulate per sonare organi libro primo<\/em> (Rome: Andrea Antico, 1517), facsimile ed. (Bologna, 1970); Marco Antonio Cavazzoni, <em>Recerchari, motetti, canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venice: Bernardo Vercelensis, 1523). In addition, one might point to the Jacques Moderne reprint (called <em>Musicque de Joye<\/em>) of most of the ricercars from the 1540 Venetian collection <em>Musica Nova<\/em>; interestingly enough, Moderne certainly had connections with Francesco de Layolle, organist at the Florentine church in Lyons and father of Alamanne de Layolle; see the introduction by Samuel F. Pogue in the facsimile reprint of <em>Musicque de Joye<\/em> (Peer: Alamire, 1991), 5. For more on the relationship between <em>Musica Nova<\/em> and <em>Musicque de Joye<\/em>, see <em>Musica Nova: Ricercari<\/em>, ed. Liuwe Tamminga, Tastature 3 (Colledara, IT, 2001), iv.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Unfortunately, the Castell\u2019Arquato manuscripts remain difficult to access, and no good digital scan of the collection is available.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Diruta, <em>Seconda parte del Transilvano<\/em>, lib.\u00a01, 1\u20132.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<\/aside>\n<div id=\"1\">\n<h4>Bibliography<\/h4>\n<\/div>\n<p><\/p>\n<p class=\"bibliography\">Andrea Antico, <em>Frottole intabulate per sonare organi, libro primo<\/em> (Rome: Andrea Antico, 1517), facsimile ed. (Bologna, 1970)<\/p>\n<p class=\"bibliography\">Pierre Attaingnant, <em>Vingt et cinque chansons musicales reduictes en la tablature<\/em> (Paris: Attaingnant, 1530), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00082256\">https:\/\/mdz-nbn-resolving.de\/details:bsb00082256<\/a>&gt;<\/p>\n<p class=\"bibliography\">Pierre Attaingnant, <em>Transcriptions of Chansons for Keyboard<\/em>, ed. Albert Seay, CMM 20 (n.p.: AIM, 1961)<\/p>\n<p class=\"bibliography\">Paul Anthony Luke Boncella, \u2018The Classical Venetian Organ Toccata (1591\u20131604): An Ecclesiastical Genre Shaped by Printing Technologies and Editorial Policies\u2019, PhD thesis, Rutgers University, 1991<\/p>\n<p class=\"bibliography\">David Bryant, \u2018Gabrieli, Giovanni\u2019, in: <em>Grove Music Online, &lt;<\/em><a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40693\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40693<\/a>&gt;<\/p>\n<p class=\"bibliography\">Hans Buchner, <em>S\u00e4mtliche Orgelwerke<\/em>, ed. Jost Harro Schmidt, 2 vols., EdM 54\/55 (Frankfurt am Main, 1974)<\/p>\n<p class=\"bibliography\">Augusta Campagne, <em>Simone Verovio: Music Printing, Intabulations and Basso Continuo in Rome around 1600<\/em>, Wiener Ver\u00f6ffentlichungen zur Musikgeschichte 13 (Vienna, 2018), &lt;<a href=\"https:\/\/www.vr-elibrary.de\/doi\/pdf\/10.7767\/9783205207184\">https:\/\/www.vr-elibrary.de\/doi\/pdf\/10.7767\/9783205207184<\/a>&gt;<\/p>\n<p class=\"bibliography\">Augusta Campagne and Elam Rotem, <em>Keyboard Accompaniment in Italy around 1600: Intabulations, Scores and Basso Continuo<\/em> (Basel: Schola Cantorum Basiliensis, 2022), &lt;<a href=\"https:\/\/forschung.schola-cantorum-basiliensis.ch\/dam\/jcr:4c34cff1-be77-4a28-a71b-83a3fced72ae\/Keyboard Accompaniment Italy 1600.pdf\">https:\/\/forschung.schola-cantorum-basiliensis.ch\/dam\/jcr:4c34cff1-be77-4a28-a71b-83a3fced72ae\/Keyboard Accompaniment Italy 1600.pdf<\/a>&gt;<\/p>\n<p class=\"bibliography\">Marco Antonio Cavazzoni, <em>Recerchari, motetti, canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venice: Bernardo Vercelensis, 1523)<\/p>\n<p class=\"bibliography\">Leon Chisholm, \u2018Keyboard Playing and the Mechanization of Polyphony, Circa 1600\u2019, PhD thesis, University of California, Berkeley, 2015, &lt;<a href=\"https:\/\/escholarship.org\/uc\/item\/950881g4\">https:\/\/escholarship.org\/uc\/item\/950881g4<\/a>&gt;<\/p>\n<p class=\"bibliography\">Giuseppe Clericetti, \u2018Criteri per un\u2019edizione moderna della musica per strumenti a tastiera di Andrea Gabrieli\u2019, in: <em>Andrea Gabrieli e il suo tempo<\/em>, ed. Francesco Degrada, Studi di musica veneta 11 (Florence, 1987), 353\u201386<\/p>\n<p class=\"bibliography\">Victor Coelho and Keith Polk, <em>Instrumentalists and Renaissance Culture, 1420\u20131600: Players of Function and Fantasy<\/em> (Cambridge, 2016)<\/p>\n<p class=\"bibliography\">Frank D\u2019Accone, \u2018The \u2018Intavolatura di M. Alamanno Aiolli\u2019: A Newly Discovered Source of Florentine Renaissance Keyboard Music\u2019, in: <em>MD<\/em> 20 (1966), 151\u201374<\/p>\n<p class=\"bibliography\">Frank D\u2019Accone, \u2018Layolle, Francesco de\u2019, in: <em>Grove Music Online<\/em>, &lt;<a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.16159\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.16159<\/a>&gt;<\/p>\n<p class=\"bibliography\">Girolamo Diruta, <em>Seconda parte del Transilvano<\/em> (Venice: Giacomo Vincenti, 1609), &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/a>&gt;<\/p>\n<p class=\"bibliography\">Dinko Fabris, \u2018Lute Tablature Instructions in Italy: A Survey of the Regole from 1507 to 1759\u2019, in: <em>Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation<\/em>, ed. Victor Anand Coelho (Cambridge, 1997), 16\u201346; repr. in: <em>Musical Theory in the Renaissance: A Library of Essays on Renaissance Music<\/em>, ed. Christle Collins Judd (Burlington VT, 2013), 451\u201382<\/p>\n<p class=\"bibliography\">Andrea Gabrieli, <em>Canzoni alla francese et ricercari ariosi, tabulate per sonar sopra istromenti da tasti<\/em> [\u2026] <em>libro quinto<\/em> (Venice: Angelo Gardano, 1605)<\/p>\n<p class=\"bibliography\">Angelo Gardano, <em>Musica de diversi autori<\/em> (Venice: Angelo Gardano, 1577) (RISM 1577<sup>11<\/sup>), facsimile ed. (Bologna, 1971)<\/p>\n<p class=\"bibliography\">John Griffiths, \u2018Turning the Tables: Reassessing Tablature\u2019 (presentation, 2021 Annual Conference of the Musicological Society of Australia, December 9. 2021), &lt;<a href=\"https:\/\/www.academia.edu\/63608978\/Turning_the_tables_reassessing_tablature%3e\">https:\/\/www.academia.edu\/63608978\/Turning_the_tables_reassessing_tablature&gt;<\/a><\/p>\n<p class=\"bibliography\">Massimiliano Guido, \u2018Counterpoint in the Fingers: A Practical Approach to Girolamo Diruta\u2019s Breve &amp; Facile Regola di Contrappunto\u2019, in: <em>Philomusica on-line<\/em> 11, no. 2 (2012), 64\u201376, &lt;<a href=\"https:\/\/ianpritchardearlykeyboards.com\/intavolatura-projects\/\">http:\/\/riviste.paviauniversitypress.it\/index.php\/phi\/issue\/view\/117<\/a>&gt;<\/p>\n<p class=\"bibliography\">Daniel Heartz, <em>Pierre Attaingnant: Royal Printer of Music<\/em> (Berkeley and Los Angeles, 1969)<\/p>\n<p class=\"bibliography\">Jacques Moderne, <em>Musicque de Joye<\/em>, ed. Samuel F. Pogue (Peer: Alamire, 1991)<\/p>\n<p class=\"bibliography\">Craig Monson, \u2018Elena Malvezzi\u2019s Keyboard Manuscript: A New Sixteenth-Century Source\u2019, in: <em>EMH<\/em> 9 (1990), 73\u2013128<\/p>\n<p class=\"bibliography\"><em>Musica Nova: Ricercari<\/em>, ed. Liuwe Tamminga, Tastature 3 (Colledara, IT, 2001)<\/p>\n<p class=\"bibliography\">Ian Pritchard, \u2018Keyboard Thinking: Intersections of Notation, Composition, Improvisation, and Intabulation in Sixteenth-Century Italy\u2019, PhD thesis, University of Southern California, Los Angeles, 2018<\/p>\n<p class=\"bibliography\">Cipriano de Rore, <em>Tutti i madrigali<\/em> [\u2026] <em>spartiti et accomodati per sonar d\u2019ogni sorte d\u2019Istrumento perfetto<\/em> (Venice: Angelo Gardano, 1577)<\/p>\n<p class=\"bibliography\">Alexander Silbiger, \u2018Is the Italian Keyboard \u201cIntavolatura\u201d a Tablature?\u2019, in: <em>Recercare<\/em> 3 (1991), 81\u2013103<\/p>\n<p class=\"bibliography\">H. Colin Slim, \u2018Some Puzzling Intabulations of Vocal Music for Keyboard, ca. 1600, at Castell\u2019Arquato\u2019, in: <em>Five Centuries of Choral Music: Essays in Honor of Howard Swan<\/em>, ed. Gordon Paine (Stuyvesant, NY, 1988), 127\u201352<\/p>\n<p class=\"bibliography\">Luigi Ferdinando Tagliavini, \u2018The Art of \u201cNot Leaving the Instrument Empty\u201d: Comments on Early Italian Harpsichord Playing\u2019, in: <em>EM<\/em> 11 (1983), 299\u2013308<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Italian Keyboard Intavolatura and Scribal Habit Ian Pritchard Dedicated to the memory of Liuwe Tamminga (1953\u20132021) Due to the fact that the notational signs used in Italian keyboard intavolatura are derived from mensural notation, the functional \u2018identity\u2019 of intavolatura as a species of tablature is grounded in notational convention \u2013 that is, the ways in &hellip;<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[114],"tags":[],"class_list":["post-2599","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Hacking the System &#8211; 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