{"id":7857,"date":"2026-07-06T15:17:31","date_gmt":"2026-07-06T13:17:31","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=7857"},"modified":"2026-07-06T16:09:49","modified_gmt":"2026-07-06T14:09:49","slug":"mdwp017-003","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp017-003\/","title":{"rendered":"Hacking the System II"},"content":{"rendered":"<h2 class=\"subtitle\">Notational Conventions in Early Sixteenth Century Printed Italian Keyboard Intavolature<\/h2>\n<h3 class=\"author\"><em>Augusta Campagne <a href=\"https:\/\/orcid.org\/0000-0001-6583-5621\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic 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id=\"zp-ID-7857-4511395-K66CR8IV\" data-zp-author-date='Campagne-2026' data-zp-date-author='2026-Campagne' data-zp-date='2026' data-zp-year='2026' 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\">Campagne, Augusta. 2026. \u201cHacking the System II: Notational Conventions in Early Sixteenth Century Printed Italian Keyboard Intavolature.\u201d In <i>\u2018Per Aures Ad Animum\u2019. The Harpsichord in the Sixteenth Century II: Italy<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.21939\/harpsichord-italy-16c'>https:\/\/doi.org\/10.21939\/harpsichord-italy-16c<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=K66CR8IV' 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\">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=\"#1\">Introduction<\/a><br \/>\n<a href=\"#2\">The Challenges<\/a><br \/>\n<a href=\"#3\">The Prints<\/a><br \/>\n<a href=\"#4\">The Conventions around 1600<\/a><br \/>\n<a href=\"#5\">Andrea Antico<\/a><br \/>\n<a href=\"#6\">Marc&#8217;Antonio Cavazoni<\/a><br \/>\n<a href=\"#7\">Girolamo Cavazzoni<\/a><br \/>\n<a href=\"#8\">Jacques Buus<\/a><br \/>\n<a href=\"#9\">Conclusions<\/a><br \/>\n<a href=\"#10\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<h4 id=\"1\">Introduction<\/h4>\n<p>The vast majority of extant keyboard music in 16th-century Italy was notated in <em>intavolatura d\u2019organo <\/em>or <em>intavolatura di cimbalo<\/em>. Other common methods for the printing of music for keyboard instruments included the use of either partbooks (from 1540 onwards) or open scores (mainly in Naples and Milan, from 1575 onwards). At a first glance, the Italian keyboard <em>intavolatura <\/em>resembles our modern system of keyboard notation on two staves, using mensural notation. This gives the impression that the former is easily transferable to the latter without any loss of information. However, as has been pointed out in more recent literature,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span> when the music is transcribed according to modern conventions certain information, for example regarding the part writing, is lost. Then again information, not present in the <em>intavolatura<\/em>, is frequently added in modern editions.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> As Alexander Silbiger<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span> has pointed out in his seminal article \u2018Is the Italian Keyboard \u201cIntavolatura\u201d a Tablature?\u2019, the <em>intavolatura<\/em> notation has its very own distinct set of conventions. It displays the characteristics of a <em>Griffschrift<\/em>, a practical system of notation indicating hand positions, thereby incorporating a pronounced haptic element. It delineates the specific instances and locations where the fingers of each hand should press down a specific key, as well as the requisite duration of each key press. This can obscure some of the polyphonic information present in keyboard notation in other countries or in modern notation.<\/p>\n<p>The only extant source containing comprehensive instructions for the conversion (or translation) of musical pieces into an <em>intavolatura<\/em>, a keyboard table<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> or tablature in Italy, is the <em>libro primo<\/em> in the <em>Seconda parte del Transilvano<\/em> by Girolamo Diruta (Venice: Giacomo Vincenti, 1609).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> This provides a detailed account of the conventions in question, elucidating the significant divergences between the modern piano notation and the <em>intavolatura d\u2019organo <\/em>or <em>intavolatura di cimbalo <\/em>notation.<\/p>\n<p>As Ian Pritchard remarks, a more thorough examination of intabulations and tablature notation is long overdue.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/span><\/span> Previous research has focused on the period around 1600 and on manuscripts, mainly from the latter half of the 16th century. The objective of this article is to give an overview of the notation in keyboard prints from the first half of the 16th century and to demonstrate that the majority of the conventions described by Diruta in 1609 were already in place nearly a century earlier. This in turn suggests that the process of keyboard thinking and verticalisation, as described by Leon Chisholm and Ian Pritchard, was already well underway by 1520.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span><\/p>\n<h4 id=\"2\">The Challenges<\/h4>\n<p>In contrast to the <em>intavolatura di liuto<\/em> notation, which only indicates the fastest note value at a given moment, the keyboard <em>intavolatura<\/em> additionally needs to show the length of all note values. This is important, as the length of <em>every<\/em> note can be controlled: the end of the sound is defined by the lifting of the key.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> The musical importance of the exact moment a key is lifted, is highlighted in an example by Girolamo Diruta (see Fig.&#160;1). In his discussion of the topic of touch, Diruta<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/span> emphasises the desirability of continuity of sound. According to him, this is achieved by ensuring that the hands remain on the keyboard to prevent any gaps in the sound. In <em>Il Transilvano<\/em> he illustrates the good way of playing (<em>primo essempio buono<\/em>) where the sound is continuous and the bad way of playing with gaps in the sound (<em>secondo essempio cattiva)<\/em>.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-Diruta.png\" alt=\"Below the title appear two short musical examples labelled Primo essempio buono and Secondo essempio cattivo (\u201cfirst good example\u201d and \u201csecond bad example\u201d). The notation, printed in black ink, contrasts correct and incorrect approaches to playing, as part of Diruta\u2019s pedagogical dialogue on keyboard technique and composition.\" width=\"1861\" height=\"441\" class=\"alignnone size-full wp-image-7872\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-Diruta.png 1861w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-Diruta-300x71.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-Diruta-1024x243.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-Diruta-150x36.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-Diruta-768x182.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-Diruta-1536x364.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-Diruta-850x201.png 850w\" sizes=\"auto, (max-width: 1861px) 100vw, 1861px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 1:<\/b> Girolamo Diruta, <em>Il Transilvano <\/em>(Venezia, 1593), fol.&#160;5<span class=\"Hochgestellt\">v<\/span>.<\/span><\/p>\n<p>In order to compensate for the decay of the sound on plucked keyboard instruments, Diruta suggests a number of potential methods, such as the addition of ornaments and the restriking of notes.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/span><\/span><\/p>\n<p>But notating, playing and sustaining the right length of a note correctly was not the only challenge. The printing of multiple parts on a single staff with disparate note values, as found in the context of <em>intavolatura<\/em> notation, represented a significant challenge for printers.<\/p>\n<p>A survey of the <em>intavolatura <\/em>prints also shows the technological development in music printing. The printing techniques employed in the 16th century encompass the full range of techniques in use for printing music: woodcut, printing with movable type, initially in double imprint, later in single imprint (made possible by the use of types including a note on a staff), and towards the end of the century the engravings from Verovio\u2019s workshop.<\/p>\n<h4 id=\"3\">The Prints<\/h4>\n<p>A total of approximately twenty-five out of around thirty known Italian prints<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/span><\/span> containing music for keyboard along with the majority of manuscripts prior to 1600<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/span><\/span> use the <em>intavolatura<\/em> notation. On the one hand we find keyboard adaptations of music for several parts originally printed in separate partbooks, and on the other hand we also find music originally conceived for keyboard, such as <em>ricercari <\/em>and music specifically for the liturgy, as well as dances and pieces based on ostinato basses.<\/p>\n<p>Tab.&#160;1 shows a list of the five prints of keyboard music from the first half of the 16th century. Although Ottaviano Petrucci seems to have been the first to apply for a privilege to print both lute and keyboard <em>intavolature<\/em> in 1498, no keyboard <em>intavolature<\/em> print seems to have been published until 1517 (almost twenty years later). Furthermore, this was printed by another printer, Andrea Antico.<\/p>\n<table id=\"table002\" class=\"au_tabelle\">\n<colgroup>\n<col \/>\n<col \/>\n<col \/>\n<col \/>\n<col \/>\n<col \/>\n<col \/>\n\t\t\t\t<\/colgroup>\n<thead>\n<tr>\n<th style=\"text-transform: none; text-align: left;\" scope=\"col\">\n\t\t\t\t\t\tYear\n\t\t\t\t\t\t<\/th>\n<th style=\"text-transform: none; text-align: left;\" scope=\"col\">\n\t\t\t\t\t\tComposer\n\t\t\t\t\t\t<\/th>\n<th style=\"text-transform: none; text-align: left;\" scope=\"col\">\n\t\t\t\t\t\tTitle\n\t\t\t\t\t\t<\/th>\n<th style=\"text-transform: none; text-align: left;\" scope=\"col\">\n\t\t\t\t\t\tPlace\n\t\t\t\t\t\t<\/th>\n<th style=\"text-transform: none; text-align: left;\" scope=\"col\">\n\t\t\t\t\t\tPublisher\n\t\t\t\t\t\t<\/th>\n<th style=\"text-transform: none; text-align: left;\" scope=\"col\">\n\t\t\t\t\t\tPrinting technique\n\t\t\t\t\t\t<\/th>\n<th style=\"text-transform: none; text-align: left;\" scope=\"col\"><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1517<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">(Andrea Antico)<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/span><\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Frottole intabulate da sonare organi libro primo<\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Rome<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Andrea Antico<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Woodcut<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Brown 1517<\/p>\n<p class=\"Tabelle\">RISM B\/I 1517<span class=\"Hochgestellt\">3<\/span><\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1523<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Marc\u2019Antonio Cavazzoni<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/span><\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Recerchari motetti canzoni<\/em> [\u2026] <em>libro primo<\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Venice<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Bernardo Vercelensis<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Double impression<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Brown 1523<span class=\"Tiefgestellt\">1<\/span><\/p>\n<p class=\"Tabelle\">RISM A\/I-C 1574<\/p>\n<p class=\"Tabelle\">RISM A\/I-CC 1574<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1543<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Girolamo Cavazzoni<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/span><\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Intavolatura cioe recercari canzoni himni magnificati <\/em>[\u2026]<em> libro primo<\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Venice<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">B. V. <\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Double impression<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Brown 1543<span class=\"Tiefgestellt\">1<\/span><\/p>\n<p class=\"Tabelle\">RISM A\/I C-1571<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">154?<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Girolamo Cavazzoni<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/span><\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Intabulatura dorgano, cioe misse himni magnificat <\/em>[\u2026] <em>libro secondo<\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Venice<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">?<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Double impression<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Brown 154?<span class=\"Tiefgestellt\">2<\/span><\/p>\n<p class=\"Tabelle\">RISM A\/I C-1572<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">1549<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Jacques Buus<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/span><\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Intabolatura d\u2019organo di recerari <\/em>[\u2026] <em>libro primo<\/em> [\u2026] <em>novamente stampate con carateri di stagno. Libro primo<\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Venice<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Antonio Gardano<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Single impression<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Brown 1549<span class=\"Tiefgestellt\">4<\/span><\/p>\n<p class=\"Tabelle\">RISM A\/I B-5197<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><span class=\"caption-text\"><b>Table 1:<\/b> <em>Intavolatura<\/em> prints from before 1550<\/span><\/p>\n<h4 id=\"4\">The Conventions around 1600<\/h4>\n<p>To start making an intabulation, Diruta<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/span><\/span> recommends taking a <em>cartella <\/em>or sheet of paper including a barred system of two staves of which the upper one with five lines is for the right hand and the lower one with eight lines for the left.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/span><\/span> This practice of notating each hand on a separate staff, was already in use in Italy c.&#160;1400, as can be seen for example in the Codex Faenza.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/span><\/span> To intabulate a given composition, Diruta instructs his reader to write the upper part on the top keyboard staff with the stems upwards and the lowest part on the lower staff with the stems downwards. Then he tells his student to add the alto part on the top staff unless the note is an octave or less above the bass, in which case it is notated in the bottom staff. The tenor should be notated in the staff for the left hand, unless it is more than an octave above the bass. In this way the middle parts are divided over the hands according to the distance above the bass.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/span><\/span> If one hand plays diminutions, however, the other hand will take over the other parts.<\/p>\n<p>As has been frequently observed (see n.&#160;1 and 3), the practice of placing music for more than two parts on two staves naturally obscures the underlying polyphonic structure. Unless specific conventions are used \u2013 such as for example stem direction or special signs like a <em>custos<\/em> or colour coding<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/span><\/span> \u2013 the crossing of parts will not be visible: if one of the inner parts is lower than the bass, that part will visibly and audibly become the lowest part. Nowadays we call such a part a <em>basso<\/em> <em>seguente<\/em>. The same can be true for the uppermost parts, which can form a <em>canto seguente<\/em> and occasionally changed or new inner parts will appear that could also be described as <em>voci di mezzo seguente.<\/em> Ian Pritchard refers to these as \u2018tablature voices\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/span><\/span> In certain instances, most frequently in the case of final chords, the original parts were enhanced by the addition of notes. As Luigi Ferdinando Tagliavini observed, \u2018chords were frequently not merely the consequence of the simultaneous sounding of parts, but autonomous entities in their own right\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/span><\/span> A further consequence of these <em>seguente<\/em> parts is that what is regarded as forbidden parallels can occur as a result of the crossing of these parts. Some composers do their best to avoid such forbidden consecutives, others are less careful and genres such as dances or arie seem to use the movement in consecutive fifths and\/or octaves as a distinctive characteristic trait.<\/p>\n<p>Unlike music published in partbooks, compositions in <em>intavolatura <\/em>are always divided by vertical tablature bar lines into what Diruta and others call <em>caselle<\/em>, \u2018measures\u2019 usually consisting of two semibreves.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/span><\/span> As Pritchard summarises: these elements lead to \u2018an inherent \u201cverticalization\u201d of <em>intavolatura<\/em>, with polyphony reduced and made to coalesce around a structure of regular pulses (most typically at the minim level) [\u2026]\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/span><\/span> Tab.&#160;2 illustrates the principle conventions that differentiate the <em>intavolatura <\/em>notation from the contemporary \u2018piano\u2019 notation.<\/p>\n<table id=\"table003\" class=\"au_tabelle\">\n<colgroup>\n<col \/>\n\t\t\t\t<\/colgroup>\n<tbody>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">&#9;\u2013&#9; The division of the parts over the hands<\/p>\n<ul class=\"dash-list\">\n<li>The top staff is for the right hand and the bottom staff for the left hand<\/li>\n<li>The top staff is commonly made up of five to six lines, the bottom of five to eight lines. There is an overlap of notes notated on both staves, avoiding the use of ledger lines<\/li>\n<li>All parts except the highest are taken by the left hand unless the distance to the bass is more than an octave, with several exceptions<\/li>\n<li>&#9;&#9; when the bass is ornamented chords will be taken in the right hand and vice versa<\/li>\n<li>Middle parts can migrate from one hand to the other<\/p>\n<\/ul>\n<p class=\"Tabelle\">&#9;\u2013&#9; Stem direction<\/p>\n<ul>\n<li>The stems of the highest sounding part are upward and those of the lowest on the staff downward <\/li>\n<li>A unison need only be notated in one hand; no double stems are needed to indicate two voices reaching a unison<\/li>\n<\/ul>\n<p class=\"Tabelle\">&#9;\u2013&#9; Rests<\/p>\n<ul>\n<li>If notes are present on the staff at a given moment, it is not necessary to include rests for other parts, even if these are present in the original parts.<\/li>\n<li>\u2018Fictitious\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/span><\/span> rests may occur to indicate the entry of a part<\/li>\n<li>\u2018Mechanical\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/span><\/span> rests occur as a sign to lift up a finger to make the key available by for the other hand<\/li>\n<\/ul>\n<p class=\"Tabelle\">&#9;\u2013&#9; Caselle<\/p>\n<ul>\n<li><em>Caselle<\/em> (measures) are marked every two semibreves<\/p>\n<\/ul>\n<p class=\"Tabelle\">&#9;\u2013&#9; Splitting longer notes into shorter ones<\/p>\n<ul>\n<li>Longer note values are systematically broken up into shorter ones, with or without ties<\/li>\n<li>Sustained voices are interrupted if another part needs the key<\/li>\n<\/ul>\n<p class=\"Tabelle\">&#9;\u2013&#9; Correct vertical alignment is not always a priority<\/p>\n<\/ul>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><span class=\"caption-text\"><b>Table 2:<\/b> Conventions of the <em>intavolatura<\/em> notation around 1600<\/span><\/p>\n<p>As Pritchard has demonstrated for manuscripts,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/span><\/span> exceptions to these conventions can be observed. Some of these exceptions assist the understanding of the underlying polyphonic structure, for example the addition of signs such as a <em>custos<\/em>.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/span><\/span> Other exceptions, also found in prints, concern the execution on the keyboard and are largely of a practical nature. For instance, chains of parallel thirds are typically maintained in one hand; in the event that the bass descends with a larger leap, some notes might be taken in the right hand to make the leap easier; scales are typically retained in one hand. In general, however, these are exceptions \u2018that prove the rule\u2019.<\/p>\n<p>Four further notational aspects are of interest: the length of the <em>caselle<\/em>, the use of dots, the use of ties and the vertical alignment.<\/p>\n<p>Diruta instructs the Transilvano to draw lines after two semibreves, thereby establishing regular <em>caselle<\/em> or \u2018measures\u2019 of a breve. In practice, in the musical content of his treatise most <em>caselle<\/em> conform to his instructions, although there are instances of both longer and shorter <em>caselle<\/em>. In earlier sources, triple time can be fitted into a <em>casella<\/em>, but in certain instances, particularly in dances and lute music, the metrical division does not necessarily align with the accentuation pattern of the music.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a><\/span><\/span><\/p>\n<p>In mensural notation dots had traditionally been used for a variety of purposes and practical applications of these traditions can be found in the earlier prints.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a><\/span><\/span> As well as the dots of addition (<em>punctus additionis<\/em>), still in use in our contemporary music notation, theearlier prints also feature dots as a means to indicate <em>ficta<\/em>, both sharps and flats.<\/p>\n<p>The continuation of the tradition of mensural notation of what in English are referred to as ligatures, is reflected in the Italian term for ties: <em>ligature<\/em>. Ties might be used as a substitute for the dots of addition, either across bar lines or within a bar. Furthermore, ties are also found between notes of equal length, both when the note becomes a dissonance (<em>legatura de note dissonanti <\/em>according to Diruta<em>) <\/em>and when it remains consonant (<em>legatura de note consonanti).<\/em><span class=\"Hochgestellt_footnote\"><span><a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a><\/span><\/span><\/p>\n<p>Nowadays we have become accustomed to reading scores, that display a perfect vertical alignment of all notes as well as a clear spacing between them. When notes are intended to be played simultaneously, this is reflected in the notation and in general shorter notes will occupy less space than longer ones. When using moveable type, however, each type will be more or less the same size, so shorter notes can occupy the same amount of space as longer notes. The simultaneous printing of multiple notes with differing rhythmic values poses a significant challenge for printers, particularly when the objective was to minimise paper wastage as paper was an expensive commodity in the 16th century. This makes many of the <em>intavolatura<\/em> prints difficult, though not impossible, for players accustomed to modern piano notation to read.<\/p>\n<p>Thus, when examining the prints in <em>intavolatura<\/em> notation, the following conventions will be considered:<\/p>\n<ul>\n<li class=\"Normal_Aufz\">The division of parts over the hands<\/li>\n<li class=\"Normal_Aufz\">Stem direction<\/li>\n<li class=\"Normal_Aufz\">The use of rests<\/li>\n<li class=\"Normal_Aufz\">The splitting of longer notes into shorter ones<\/li>\n<li class=\"Normal_Aufz\">The length of <em>caselle<\/em><\/li>\n<li class=\"Normal_Aufz\">The use of dots<\/li>\n<li class=\"Normal_Aufz\">The use of ties<\/li>\n<li class=\"Normal_Aufz\">The vertical alignment<\/li>\n<\/ul>\n<h4 id=\"5\"><span class=\"Kapitaelchen\">Andrea Antico<\/span><\/h4>\n<p>The <em>Frottole intabulate<\/em>, published by Andrea Antico (c.&#160;1480\u2013after 1538) in Rome in 1517, is the earliest known printed publication of keyboard works.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a><\/span><\/span> The collection comprises twenty-six <em>frottole<\/em> by various composers, which have been adapted and ornamented for keyboard performance, probably by Antico himself. The majority of these <em>frottole<\/em> can be found in various collections published in partbooks by, among others, Petrucci and Antico himself. This allows for comparisons to be made between the original compositions and the intabulations, although sometimes it appears that Antico worked from a slightly different version of the <em>frottole<\/em> than the prints.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a><\/span><\/span> Furthermore, it is the sole surviving example of a collection of printed keyboard music in Italy that employs woodcuts.<\/p>\n<h6>The division of parts over the hands<\/h6>\n<p>In general, the top staff (five lines) is assigned to the right hand and the bottom staff (also five lines) to the left hand, though there are numerous exceptions. In contrast to many later publications, the clefs usually remain the same throughout a piece. This might be due to the range of the parts, which is less extensive than in later music. In general, there seems to be a preference for keeping two parts, though not necessarily the same two parts, in each staff.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a><\/span><\/span> At times this results in unplayable positions for the left hand. At other times, notes that Diruta would have placed in the left hand, are on the top staff, despite the fact that playing them in the right hand is awkward and it would be more straightforward to place and play these in the left hand (see Fig.&#160;2, m.&#160;4). Although the number of parts is mostly equivalent to the number of parts active in the partbook pieces, the last chords are always thicker and usually consist of six notes.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-Antico-Nostic_G_G_19-0038.jpeg\" alt=\"Excerpt of printed keyboard or organ tablature attributed to Andrea Antico. The image shows a section of polyphonic notation in black ink on a five-line staff, with vertically aligned noteheads and barlines typical of early sixteenth-century instrumental music print style.\" width=\"1307\" height=\"427\" class=\"alignnone size-full wp-image-7870\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-Antico-Nostic_G_G_19-0038.jpeg 1307w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-Antico-Nostic_G_G_19-0038-300x98.jpeg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-Antico-Nostic_G_G_19-0038-1024x335.jpeg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-Antico-Nostic_G_G_19-0038-150x49.jpeg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-Antico-Nostic_G_G_19-0038-768x251.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-Antico-Nostic_G_G_19-0038-850x278.jpeg 850w\" sizes=\"auto, (max-width: 1307px) 100vw, 1307px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 2:<\/b> Andrea Antico, \u2018Hor chel ciel e la terra B[artolomeo]. T[romboncino].\u2019, <em>Frottole intabulate da sonare organi libro primo<\/em> (Rome: Andrea Antico, 1517), fol.&#160;36<span class=\"Hochgestellt\">v<\/span>. Collection of the National Museum of the Czech Republic, National Museum Library, Nostic gg 19.<\/span><\/p>\n<h6>Stem direction<\/h6>\n<p>The direction of the stems follows the vertical placement on the staff rather than the specific part being intabulated; however, there are a few exceptions. As in later music, we encounter <em>tablature<\/em> <em>voices<\/em>, particularly when the parts cross. There are no double stems, but occasionally the same note is notated in both hands and sometimes stems are placed in a complicated way (see Fig.&#160;3).<\/p>\n<h6>The use of rests<\/h6>\n<p>Unnecessary rest, both \u2018fictitious\u2019 and \u2018mechanical\u2019 rests, are found in many pieces.<\/p>\n<h6>The splitting of longer notes into shorter ones<\/h6>\n<p>Most breves are divided into two separate semibreves (which are only exceptionally tied) thus indicating the restriking of long notes. However, even when the text has two syllables on two distinct minims, in the intabulation these are occasionally adapted to a semibreve.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a><\/span><\/span> Thus shorter note values might be grouped together into one note, whilst longer note values are divided and restruck.<\/p>\n<h6>The length of a <em>casella<\/em><\/h6>\n<p>In accordance with Diruta\u2019s instructions, lines are drawn after two semibreves, thereby establishing regular <em>caselle<\/em> or \u2018measures\u2019 of a breve. Only final notes are invariably <em>longae<\/em>, which results in irregular last measures. In <em>tempus<\/em> <em>perfectum<\/em> the <em>caselle<\/em> follow the accentuation pattern of the triple rhythm, but as in <em>tempus imperfectum<\/em>, not necessarily that of the text.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a><\/span><\/span><\/p>\n<h6>The use of dots and ties<\/h6>\n<p>Flats and sharps are indicated by dots, which are placed either above or below the note in question. In instances where there is limited space, the dot may be placed behind the note. With only a very few exceptions our modern dotted notes are indicated either as colored notes without stems (usually a <em>color minor<\/em>), or as equal notes complying to the old rule \u2018<em>similis ante similem perfecta<\/em>\u2019. One of the few exceptions employing a tie can be seen in Fig.&#160;2, m.&#160;1. Alternatively, in the event that such notes cross the bar line, or if the following note is not half the value of the initial one, ties are printed. In one exceptional example (<em>Animoso mio desire<\/em>, fol.&#160;20<span class=\"Hochgestellt\">r<\/span>) dots are used both to indicate the accidentals and the lengthening by half of the note. This occurs in one of two pieces in ternary time.<\/p>\n<h6>The vertical alignment<\/h6>\n<p>In general, the alignment presents a significant challenge to those accustomed to reading modern editions (see Fig.&#160;3).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3.jpg\" alt=\"Printed example from a sixteenth-century collection by Andrea Antico. The page shows two systems of keyboard notation titled \u201cChe debbio far.\u201d The music is printed in black ink with dense vertical textures and reasonable contrapuntal alignment across voices. The layout reflects Antico\u2019s early typographic printing technique for polyphonic keyboard music.\" width=\"2110\" height=\"1298\" class=\"alignnone size-full wp-image-7871\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3.jpg 2110w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3-300x185.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3-1024x630.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3-150x92.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3-768x472.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3-1536x945.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3-2048x1260.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Antico-Nostic_G_G_19-fig.3-850x523.jpg 850w\" sizes=\"auto, (max-width: 2110px) 100vw, 2110px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 3:<\/b> Andrea Antico, \u2018Che debbio fare B[artolomeo]. T[romboncino].\u2019 <em>Frottole intabulate da sonare organi libro primo <\/em>(Rome, 1517), fol.&#160;12<span class=\"Hochgestellt\">r<\/span>. Collection of the National Museum of the Czech Republic, National Museum Library, Nostic gg 19.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-scaled.png\" alt=\"Modern transcription of Andrea Antico\u2019s \u201cChe debbio far\u201d, presented in colour-coded notation to distinguish individual voices. The upper system reproduces the original four-voice texture in separate staves, while the lower system shows a reduction into modern keyboard notation. The coloured noteheads (pink, orange, blue, and red) clarify the distribution of parts and illustrate the contrapuntal relationships within the composition.\" width=\"2560\" height=\"1183\" class=\"alignnone size-full wp-image-7892\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-300x139.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-1024x473.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-150x69.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-768x355.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-1536x710.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-2048x947.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0001-1-850x393.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-scaled.png\" alt=\"Modern transcription of Andrea Antico\u2019s \u201cChe debbio far\u201d, presented in colour-coded notation to distinguish individual voices. The upper system reproduces the original four-voice texture in separate staves, while the lower system shows a reduction into modern keyboard notation. The coloured noteheads (pink, orange, blue, and red) clarify the distribution of parts and illustrate the contrapuntal relationships within the composition.\" width=\"2560\" height=\"1182\" class=\"alignnone size-full wp-image-7891\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-300x139.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-1024x473.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-150x69.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-768x355.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-1536x709.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-2048x946.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.1-Antico-che-debbio-fare-new_0002-1-850x392.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<p><span class=\"caption-text\"><b>Example 1:<\/b> \u2018Che debbio far B[artolomeo]. T[romboncino].\u2019 Score of the choir-book version from <em>Frottole libro septimo<\/em> (Venice: Ottavio Petrucci, 1507), fol.&#160;13<span class=\"Hochgestellt\">v<\/span>\u201314<span class=\"Hochgestellt\">r<\/span> (RISM 1507\u00b3) and the intabulation from <em>Frottole intabulate da sonare organi libro primo <\/em>(Rome, 1517), fol.&#160;12<span class=\"Hochgestellt\">r<\/span> (see Fig.&#160;3).<\/span><\/p>\n<p>Ex.&#160;1 shows the choir-book version from Petrucci\u2019s <em>Frottole libro septimo<\/em><span class=\"Hochgestellt_footnote\"><span><a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a><\/span><\/span> of \u2018Che debbio far che mi consigli amore\u2019 in comparison with the transcription of Antico\u2019s intabulation (see Fig.&#160;3).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a><\/span><\/span> By colour-coding the parts (cantus: magenta, altus: orange, tenor: blue, and bassus: red) I have attempted to show the formation of the various <em>seguente<\/em> or tablature voices that emerge when transcribing and adapting this piece for a keyboard instrument. Some notes are omitted, some ornamentation added, and an initial chord highlights a vertical texture. The final chord (not shown) is thicker, with six notes. Despite the considerable amount of ornamentation, it becomes evident that these \u2018new\u2019 tablature voices are derived from the four vocal parts primarily as a result of the crossing of the parts. Although most stems are in the \u2018correct\u2019 direction (upward for top parts in each staff and downward for the lower parts) several exceptions can be noted (mm.&#160;7\u20138). No double stems occur and, typically, the upper part is given precedence in the direction of the stem. Both \u2018fictitious\u2019 rests to show part-writing and \u2018mechanical\u2019 rests (m.&#160;7) can be observed.<\/p>\n<p>The intabulator was not especially meticulous: this frottola, originally in <em>cantus mollis<\/em>, appears in <em>cantus durus<\/em> with quite a few accidentals omitted. Occasional awkward hand divisions pose challenges for performers.<\/p>\n<p>It should be noted that, although a system as described by Diruta seems to be the basis for this initial publication, there are more exceptions (and mistakes) than in any of the later editions.<\/p>\n<h4 id=\"6\"><span class=\"Kapitaelchen\">Marc\u2019Antonio Cavazzoni<\/span><\/h4>\n<p>The second extant print is the <em>Recerchari motetti canzoni <\/em>[\u2026]<em> libro primo<\/em> by Marc\u2019Antonio Cavazzoni or Marcoantonio da Bologna (c.&#160;1490\u2013c.&#160;1560) as indicated on the title page. Whereas Antico employed existing compositions by other composers (primarily Marchetto Cara and Bartolomeo Tromboncino), Cavazzoni, as Cristina Cassia has observed, takes ownership of the compositions, presenting himself as the composer. Furthermore he played an active role in the publication of the print, signing the dedication and acquiring the privileges himself.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a><\/span><\/span> This print uses a double impression process with movable type: one for the staves and one for the notes, a demanding process to print correctly. The printer, Bernardino Vercellense (Bernardino Viani, fl.&#160;1501\u20131543)<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a><\/span><\/span> is otherwise not known for printing music, and as yet there is no evidence to suggest that the types were used elsewhere.<\/p>\n<p>This publication is the first to contain original works for keyboard, not merely arrangements of vocal pieces. The collection contains two free ricercares, two hymns and four chansons. Although some of the compositions are titled chanson, they are not strict arrangements for keyboard, but rather what John Ward calls paraphrase-parodies,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a><\/span><\/span> created by using material from the chanson to construct a new composition.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a><\/span><\/span> A noteworthy feature of this print is its deviation from a regular number of parts, which can vary from two to six. These form chords that are autonomous entities.<\/p>\n<h6>The division of parts over the hands<\/h6>\n<p>Whereas in the Antico print there are certain instances where the notes need to be played by the hand of the other staff, in the Cavazzoni 1523 publication this is not the case. In general, each staff has six lines; however, this may be expanded to eight lines if necessary (see Fig.&#160;4). In consideration of the fact that the music is purely instrumental, the full range of the keyboard (<em>C<\/em> to <em>f<\/em><span class=\"ts_italic_Hochgestellt\">3<\/span>) is employed, which frequently necessitates clef changes. There is a large variety of the number of notes being played simultaneously and finals are always full.<\/p>\n<h6>Stem direction<\/h6>\n<p>All stem directions of the highest notes on each staff point upwards and of the lowest part downwards, if there is more than one note on the staff. Notes in between, in chords, can have stems in either direction. Stem directions do not provide any extra polyphonic information.<\/p>\n<h6>The use of rests<\/h6>\n<p>In addition to some \u2018fictitious\u2019 rests, there are also some instances of \u2018mechanical\u2019 (see Fig.&#160;4, m.&#160;3, where the <em>d<\/em><span class=\"ts_italic_Hochgestellt\">1<\/span> in the right hand needs to be raised for the same note in the left).<\/p>\n<h6>The splitting of longer notes into shorter ones<\/h6>\n<p>As we cannot compare any of the music from this print to other sources, the only conclusion that can be drawn is that the use of breves and semibreves is very precise (see Fig.&#160;4 and in particular Fig.&#160;5).<\/p>\n<h6>The length of a <em>casella<\/em><\/h6>\n<p>The length of a <em>casella<\/em> is always two semibreves. The length of the <em>caselle<\/em> in the only triple time section in the \u2018O Stella Maris\u2019 fits the accentuation patterns.<\/p>\n<h6>The use of dots and ties<\/h6>\n<p>Dots are exclusively used for accidentals. In a highly limited number of instances a flat sign is employed to ensure that a note is not automatically interpreted as a <em>mi<\/em>, thus not necessitating an alteration of a sharp. Notes with dots of addition do not occur. Such notes are either notated as coloration (Fig.&#160;4, m.&#160;8) or with ties (Fig.&#160;4, mm.&#160;1, 2, 3 and 7).<\/p>\n<h6>The vertical alignment<\/h6>\n<p>The vertical alignment is exemplary, demonstrating that if and when it is considered important, it is technically feasible to align the notes horizontally (see Fig.&#160;2 and 3).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA.png\" alt=\"Printed example of a keyboard composition by Marcoantonio da Bologna (Marco Antonio Cavazzoni). The excerpt shows two systems of dense notation in black ink, typical of early sixteenth-century keyboard tablature.\" width=\"2186\" height=\"736\" class=\"alignnone size-full wp-image-7876\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA.png 2186w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA-300x101.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA-1024x345.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA-150x51.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA-768x259.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA-1536x517.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA-2048x690.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-4-Cavazzoni-MA-850x286.png 850w\" sizes=\"auto, (max-width: 2186px) 100vw, 2186px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 4:<\/b> Marcoantonio da Bologna, \u2018Recercare primo\u2019, <em>Recerchari motetti canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venezia, 1523), fol.&#160;[Aiii<span class=\"Hochgestellt\">v<\/span>].<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA.png\" alt=\"Printed excerpt from Marcoantonio da Bologna\u2019s Recercare primo. The image shows two systems of early sixteenth-century keyboard notation in dense black engraving. The music features intricate contrapuntal textures with sustained chords and flowing imitative passages, characteristic of Bologna\u2019s style and of Italian keyboard repertoire of the period.\" width=\"2280\" height=\"817\" class=\"alignnone size-full wp-image-7878\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA.png 2280w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA-300x108.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA-1024x367.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA-150x54.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA-768x275.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA-1536x550.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA-2048x734.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Cavazzoni-MA-850x305.png 850w\" sizes=\"auto, (max-width: 2280px) 100vw, 2280px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 5:<\/b> Marcoantonio da Bologna, \u2018Recercare primo\u2019, <em>Recerchari motetti canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venezia, 1523), fol.&#160;Aii<span class=\"Hochgestellt\">r<\/span>.<\/span><\/p>\n<p>One striking aspect of this print is the difference between the hands in the variety of forms of ornamented <em>cantizans <\/em>cadences. As can be seen in Fig.&#160;4 these ornamented cadences occur both in the right and left hands, but only very exceptionally in the bass. Ex.&#160;2 shows one of the most common variants, of which there are several versions. For the right hand four types can be distinguished: with a minim and repeated crotchet, with a minim and a tied crotchet, with a dotted minim or with a <em>color<\/em>. For the left hand two types can be discerned: with a rest and with a tie. These occur over a <em>tenorizans<\/em> in the bass or, much less frequently, over a<em> bassizans<\/em>. In the majority of such cadences, the dissonance is tied in the right hand; however, in the left hand, the majority are notated with a rest. In general the \u2018tablature tenor\u2019 part has many more rests than the \u2018tablature cantus\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA.png\" alt=\"Musical examples showing standard cantizans cadential formulas written separately for right and left hand. The examples illustrate different cantizans figures, appearing without rests in the upper staff (right hand) and with rests in the lower staff (left hand).\" width=\"2520\" height=\"1189\" class=\"alignnone size-full wp-image-7879\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA.png 2520w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA-300x142.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA-1024x483.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA-150x71.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA-768x362.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA-1536x725.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA-2048x966.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.2-cantizans-Cavazzoni-MA-850x401.png 850w\" sizes=\"auto, (max-width: 2520px) 100vw, 2520px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 2:<\/b> Standard <em>cantizans<\/em> cadence figurations in the 1523 print<\/span><\/p>\n<p>Although the version with a tie does also appear in the left hand, these instances mostly occur in what nowadays would be called sequences of descending circle of fifths. In the \u2018Recercare primo\u2019 for example such sequences occur where the cantus and tenor alternately have a <em>cantizans<\/em> (see Fig.&#160;6). In general, there are many more rests, particularly in the \u2018tablature tenor\u2019 part in the left hand, also when this part is in a higher register (in the octave above <em>c<\/em><span class=\"ts_italic_Hochgestellt\">1<\/span>).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn46\" class=\"footnote-ref\" id=\"fnref46\" role=\"doc-noteref\"><sup>46<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA.png\" alt=\"Printed excerpt of a polyphonic keyboard piece from the early sixteenth century, showing two systems of dense black notation. The passage features imitative counterpoint and chordal writing typical of early Renaissance\u00a0ricercar\u00a0style.\" width=\"2179\" height=\"1573\" class=\"alignnone size-full wp-image-7884\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA.png 2179w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA-300x217.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA-1024x739.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA-150x108.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA-768x554.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA-1536x1109.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA-2048x1478.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA-104x74.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Cavazzoni-MA-850x614.png 850w\" sizes=\"auto, (max-width: 2179px) 100vw, 2179px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 6:<\/b> Marcoantonio da Bologna, \u2018Recercare primo\u2019, <em>Recerchari motetti canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venezia, 1523), fol.&#160;B<span class=\"Hochgestellt\">r<\/span>.<\/span><\/p>\n<p>As Chisholm has pointed out, many of the characteristics of intabulations that can also be found in early 17th-century intabulations are present in this print. These include on the one side the conflation of parts into one, on the other the addition of notes creating \u2018Griffe\u2019, the adding of ornaments and diminutions, the acceptance of parallel perfect intervals, and the obscuring of voice crossing.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn47\" class=\"footnote-ref\" id=\"fnref47\" role=\"doc-noteref\"><sup>47<\/sup><\/a><\/span><\/span><\/p>\n<p>In general, this print seems to be free of significant errors, indicating that it was produced with meticulous attention to detail and precision.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn48\" class=\"footnote-ref\" id=\"fnref48\" role=\"doc-noteref\"><sup>48<\/sup><\/a><\/span><\/span> The instructions to lift fingers through the use of rests in <em>cantizans<\/em> cadences, particularly in the tablature tenor, illustrate that the printed material is meant to be used as a guide for performance. The varying number of parts (with chords of up to six parts, even in the hymns and canzonas) demonstrates an inherent verticalisation and chordal manner of thinking and playing, which can be observed alongside more imitative passages. This style is markedly distinct from the polyphonic vocal style at the time.<\/p>\n<h4 id=\"7\"><span class=\"Kapitaelchen\">Girolamo Cavazzoni<\/span><\/h4>\n<p>In 1542, almost 20&#160;years after the publication of his father\u2019s print, the young Girolamo Cavazzoni (c.&#160;1525\u2013after 1577) obtained a privilege to print his own keyboard works, the first of which was the <em>Intavolatura cioe recercari canzoni himni magnificati composti per Hieronimo de Marcantonio da Bologna detto Urbino libro primo<\/em>. In contrast to the two preceding prints which both bear the inscription <em>libro primo<\/em> on the title page, but lack any evidence of a <em>libro secondo<\/em>, Girolamo Cavazzoni\u2019s <em>libro primo<\/em> is, in fact, followed by a second print: the <em>Intabulatura dorgano cioe misse himni magnificat composti per Hieronimo de Marcantonio da Bologna detto d\u2019Urbino libro secondo.<\/em> The dedication of the <em>libro primo<\/em>, signed by Girolamo himself, is dated 1542, however, one of the two copies<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn49\" class=\"footnote-ref\" id=\"fnref49\" role=\"doc-noteref\"><sup>49<\/sup><\/a><\/span><\/span> in the Bologna library states that it was printed in 1543 by B.V. A reprint was published by Antonio Gardano in Venice probably after 1555. However, in the reprint the title is confusingly given as <em>libro primo<\/em>: <em>Di Hieronimo D\u2019Urbino<\/em> <em>il primo libro de intabolatura d\u2019organo dove si contiene tre messe ricercare da Antonio Gardano ristampato &amp; da molti errori emendato.<\/em><span class=\"Hochgestellt_footnote\"><span><a href=\"#fn50\" class=\"footnote-ref\" id=\"fnref50\" role=\"doc-noteref\"><sup>50<\/sup><\/a><\/span><\/span><\/p>\n<p>Whereas Marcantonio\u2019s ricercare from 1523 are characterised by free forms with passage work, the <em>Recercari<\/em> twenty years later are more strict polyphonic works with several sections and multiple <em>soggetti <\/em>or themes. Similar to Marcantonio\u2019s music, the number of parts is not always strictly the same. In general, it is possible to identify four parts, not always active at the same time, with some added notes at cadences (see Fig.&#160;7). The two canzonas are once again loosely based on material from French chansons, but not intabulated versions. These are followed by hymns and magnificat settings for alternatim use. The <em>libro secondo<\/em>, which lacks both a date and the name of a printer, contains alternatim masses, hymns and magnificats. A comparison of the two books reveals similarities that suggest they were produced by the same printer in more or less the same period.<\/p>\n<p>In contrast to his father\u2019s print, the two Girolamo prints appear to be less meticulously crafted and more oriented towards optimising the utilisation of the paper, an expensive commodity at the time. As noted by Gardano in his reprint, numerous mistakes needed to be corrected (<em>da molti errori emendato<\/em>), and the notation is frequently quite compressed. The dissimilarity of the types employed in the father\u2019s 1523 print and the son\u2019s prints, in addition to the aforementioned factors, lends credibility to the hypothesis that different printers were at work.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn51\" class=\"footnote-ref\" id=\"fnref51\" role=\"doc-noteref\"><sup>51<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Cavazzoni-G.-S411_016-copy_klein.png\" alt=\"Printed page from a sixteenth-century keyboard work by Girolamo Cavazzoni showing two systems of dense black notation. The music features imitative counterpoint and chordal textures typical of early Renaissance keyboard style. The vertical alignment of the notes is somewhat uneven, reflecting the limitations of early printing.\" width=\"356\" height=\"260\" class=\"alignnone size-full wp-image-7881\" style=\"width:50%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Cavazzoni-G.-S411_016-copy_klein.png 356w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Cavazzoni-G.-S411_016-copy_klein-300x219.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Cavazzoni-G.-S411_016-copy_klein-150x110.png 150w\" sizes=\"auto, (max-width: 356px) 100vw, 356px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 7:<\/b> Girolamo Cavazzoni, \u2018Recercar IIII\u2019, <em>Intavolatura cioe recercari canzoni himni magnificat<\/em> (Venice, 1543), [D ii<span class=\"Hochgestellt\">v<\/span>]. Museo internazionale e biblioteca della musica di Bologna S411.<\/span><\/p>\n<h6>The division of parts over the hands.<\/h6>\n<p>As in his father\u2019s print, the division of the hands over the staves follows the system described by Diruta more than sixty years later. However, it is possible to identify a number of instances where exceptions are made for practical reasons. Once more, such instances appear to be exceptions that prove the rule, as they are also evident in music published in <em>Il Transilvano <\/em>as well as in manuscripts. Again the last chords are fuller and mostly consist of six notes, three in each hand.<\/p>\n<h6>Stem direction<\/h6>\n<p>When there is only one part per staff, the stems can be in either direction. As soon as a second part appears on the staff, the stems of the highest part will point upwards and the stems of the lowest downward.<\/p>\n<h6>The use of rests<\/h6>\n<p>In general, there are fewer instances of \u2018unnecessary\u2019 rest.<\/p>\n<h6>The splitting of longer notes into shorter ones<\/h6>\n<p>As with his father\u2019s music, it is not possible to make comparisons with other sources. However, the use of semibreves and breves, etc., whether tied or not, appears to be more haphazard than in the 1523 print.<\/p>\n<h6>The length of a <span class=\"bold_italic\">casella<\/span><\/h6>\n<p>The length of a <em>casella<\/em> is variable, encompassing either two or three semibreves. As in the previous publications, the length of the <em>caselle<\/em> in <em>tempus perfectum<\/em> sections is consistent with the accentuation patterns.<\/p>\n<h6>The use of dots and ties<\/h6>\n<p>Dots are used to indicate accidentals. In the <em>libro primo<\/em>, they are employed exclusively for sharps (see Fig.&#160;8, m.&#160;7), whereas flats are indicated by a \u2018b\u2019. In contrast to previous prints a flat at the beginning of each staff is used in certain compositions to indicate the presence of <em>cantus<\/em> <em>mollis<\/em>, thus requiring a reduced number of accidentals. In the second book, a sharp sign is also used as an alternative to dots (see Fig.&#160;9, first system, m.&#160;6). However, it is evident that dots of addition are also employed (see Fig.&#160;8, second system, m.&#160;1). While ties are always used across bar lines, there appears to be no discernible system governing the use of dots or the tying of notes of the same length, even if they occur within the same <em>soggetto<\/em> (see Fig.&#160;8, first system, mm.&#160;7 and 9). The same can be said of the selection of tied equal notes, such as the choice between two tied semibreves and a breve.<\/p>\n<h6>The vertical alignment<\/h6>\n<p>In comparison to the 1523 print, Girolamo Cavazzoni\u2019s prints demonstrate an attempt to incorporate a greater number of notes into a single system. This has negative consequences for the alignment (see Fig.&#160;8).<\/p>\n<p>Fig.&#160;7 provides an example of what we now refer to as a <em>basso seguente<\/em> bass. The piece begins with two voices; a third enters in the next bar, followed by a fourth in bar four. At the cadence in bar seven, an additional note is added, and the piece ends with a six-part chord on the final. The inner voices shift between the hands, and the overall distribution of notes between the hands follows the conventions described by Diruta.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Cavazzoni-G.-S411_045-copy_klein.png\" alt=\"Printed page from a sixteenth-century keyboard composition by Girolamo Cavazzoni. The image shows two systems of dense black notation with overlapping contrapuntal lines and chordal writing. The vertical alignment of the notes is uneven, characteristic of early movable-type printing, and the page shows slight discoloration from age. Dots appear both as accidentals and as dots of addition, reflecting notational conventions of the period.\" width=\"378\" height=\"255\" class=\"alignnone size-full wp-image-7882\" style=\"width:50%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Cavazzoni-G.-S411_045-copy_klein.png 378w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Cavazzoni-G.-S411_045-copy_klein-300x202.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Cavazzoni-G.-S411_045-copy_klein-150x101.png 150w\" sizes=\"auto, (max-width: 378px) 100vw, 378px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 8:<\/b> Girolamo Cavazzoni, \u2018Credo cardinalis\u2019, <em>Intabulatura dorgano, cioe misse himni magnificat <\/em>[\u2026] <em>libro secondo<\/em> (Venice, [154?]), fol. C<span class=\"Hochgestellt\">r<\/span>. Museo internazionale e biblioteca della musica di Bologna, S411.<\/span><\/p>\n<p>Fig.&#160;8 shows the use of sharps as accidentals, and dots functioning both as accidentals and as dots of addition.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Cavazzoni-g.-S411_049_klein.png\" alt=\"Printed page from a sixteenth-century keyboard composition by Girolamo Cavazzoni. The image shows two systems of dense black notation with overlapping contrapuntal lines and chordal writing. Because many notes are fitted into a single system, the vertical alignment is uneven.\" width=\"388\" height=\"264\" class=\"alignnone size-full wp-image-7883\" style=\"width:50%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Cavazzoni-g.-S411_049_klein.png 388w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Cavazzoni-g.-S411_049_klein-300x204.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Cavazzoni-g.-S411_049_klein-150x102.png 150w\" sizes=\"auto, (max-width: 388px) 100vw, 388px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 9:<\/b> Girolamo Cavazzoni, \u2018Missa Domini&#173;calis Chirie primus\u2019, <em>Intabulatura dorgano, cioe misse himni magnificat <\/em>[\u2026] <em>libro secondo<\/em> (Venice, [154?]), fol. D<span class=\"Hochgestellt\">r<\/span>. Museo internazionale e biblioteca della musica di Bologna S411.<\/span><\/p>\n<h4 class=\"8\"><span class=\"Kapitaelchen\">Jacques Buus<\/span><\/h4>\n<p>In 1549 Antonio Gardano published <em>Il secondo libro di recercari <\/em>[\u2026]<em> da cantare, &amp; sonare d\u2019organo &amp; altri stromenti <\/em>in partbook format<em>.<\/em><span class=\"Hochgestellt_footnote\"><span><a href=\"#fn52\" class=\"footnote-ref\" id=\"fnref52\" role=\"doc-noteref\"><sup>52<\/sup><\/a><\/span><\/span>In the same year, Gardano also produced the <em>Intabolatura d\u2019organo di recerari di M. Giaques Buus <\/em>[\u2026]which included an ornamented intabulation of a <em>ricercar<\/em> from the partbook edition and three additional pieces. As Jane Bernstein has observed, this publication was the first <em>intavolatura d\u2019organo <\/em>using movable type in single impression.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn53\" class=\"footnote-ref\" id=\"fnref53\" role=\"doc-noteref\"><sup>53<\/sup><\/a><\/span><\/span> Buus (c.&#160;1500\u20131565) dedicated the collection to his student, a young nobleman, Paolo di Hanna. In the dedication Buus asserts that he intabulated these ricercares for his student Hanna and subsequently had them printed because his friends persuaded him to do so.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn54\" class=\"footnote-ref\" id=\"fnref54\" role=\"doc-noteref\"><sup>54<\/sup><\/a><\/span><\/span> This print is the first keyboard publication in Italy explicitly showcasing an exemplary adaptation of compositions originally published in partbook format. Compared to most other 16th-century keyboard music in print, these pieces are exceedingly long and complex, with several <em>soggetti<\/em> and a significant number of voice crossings.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn55\" class=\"footnote-ref\" id=\"fnref55\" role=\"doc-noteref\"><sup>55<\/sup><\/a><\/span><\/span> Fig.&#160;10 shows the beginning of the <em>Recercar primo<\/em>. In general the number of parts active in the partbook version is maintained, although in several cases notes are added.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--scaled.png\" alt=\"Printed page from Jacques Buus\u2019s Recercar Primo (1549). The image shows two systems of early sixteenth-century keyboard notation in black ink, featuring dense imitative counterpoint and characteristic ricercar textures. Numbers printed along the left margin indicate the numbering of individual keys from bottom (1) to top. The page shows slight discoloration and uneven note alignment typical of early movable-type printing.\" width=\"2560\" height=\"1950\" class=\"alignnone size-full wp-image-7885\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--300x229.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--1024x780.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--150x114.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--768x585.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--1536x1170.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--2048x1560.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-10-Buus--850x648.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 10:<\/b> Jacques Buus, \u2018Recercar primo\u2019, <em>Intabolatura d\u2019organo di recerari di M. Giaques Buus<\/em> (Venice, 1549), fol.&#160;Aii<span class=\"Hochgestellt\">r<\/span>. Library of the Brussels Conservatories, B-Bc 26.671.<\/span><\/p>\n<p>Ex.&#160;3 shows a transcription of mm.&#160;6\u201317 from the \u2018Recercar primo\u2019 (partly shown in facsimile in Fig.&#160;10), together with the corresponding parts from the partbook publication in score.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn56\" class=\"footnote-ref\" id=\"fnref56\" role=\"doc-noteref\"><sup>56<\/sup><\/a><\/span><\/span> In general, possibly due to the nature of the ricercares, the ornamentation is less free and extensive than in the Antico print. It would seem that the diminutions added in the Buus ricercars bear a resemblance to the <em>minute<\/em> added by Diruta in his <em>intavolatura diminuita <\/em>of the canzona \u2018L\u2019albergona\u2019 by Antonio Mortaro.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn57\" class=\"footnote-ref\" id=\"fnref57\" role=\"doc-noteref\"><sup>57<\/sup><\/a><\/span><\/span> Typically, only a single part is diminished. Although the example (Ex.&#160;3, mm.&#160;10\u201311) shows relatively few voice crossings, it is worth noting that the <em>ricercars<\/em> as a whole feature numerous instances of this technique. Felipe Oliveira de Mesquita has shown that in the <em>Libro primo<\/em> (1547) up to 36% of the bars have voice crossings.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn58\" class=\"footnote-ref\" id=\"fnref58\" role=\"doc-noteref\"><sup>58<\/sup><\/a><\/span><\/span> In Ex.&#160;3 the differences, mainly tablature voices, have been highlighted in red.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-scaled.png\" alt=\"Comparison of Jacques Buus\u2019s Recercar Primo showing the partbook version above and the keyboard intavolatura version below. The upper system displays four vocal lines in open score, and the lower system presents the same passage arranged for keyboard on two staves. Some notes are shown in red to indicate differences between the versions.\" width=\"2560\" height=\"979\" class=\"alignnone size-full wp-image-7887\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-300x115.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-1024x392.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-150x57.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-768x294.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-1536x588.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-2048x783.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0001-850x325.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-scaled.png\" alt=\"Comparison of Jacques Buus\u2019s Recercar Primo showing the partbook version above and the keyboard intavolatura version below. The upper system displays four vocal lines in open score, and the lower system presents the same passage arranged for keyboard on two staves. Some notes are shown in red to indicate differences between the versions.\" width=\"2560\" height=\"1020\" class=\"alignnone size-full wp-image-7888\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-300x120.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-1024x408.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-150x60.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-768x306.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-1536x612.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-2048x816.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0002-850x339.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-scaled.png\" alt=\"Comparison of Jacques Buus\u2019s Recercar Primo showing the partbook version above and the keyboard intavolatura version below. The upper system displays four vocal lines in open score, and the lower system presents the same passage arranged for keyboard on two staves. Some notes are shown in red to indicate differences between the versions.\" width=\"2560\" height=\"1028\" class=\"alignnone size-full wp-image-7889\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-300x120.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-1024x411.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-150x60.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-768x308.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-1536x617.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-2048x823.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex.3-Buus-landscape_0003-850x341.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<p><span class=\"caption-text\"><b>Example 3:<\/b> Jacques Buus, \u2018Recercar primo\u2019: comparison of the partbook version and the <em>intavolatura<\/em>, mm.&#160;6\u201317.<\/span><\/p>\n<h6>The division of parts over the hands<\/h6>\n<p>In general the conventions as set out by Diruta are adhered to strictly.<\/p>\n<h6>Stem direction<\/h6>\n<p>The stem directions usually adhere to the conventions established by Diruta: the stems of the highest parts on a staff point upward, the lowest parts downward and there are no double stems. There is no system in place to show voice crossings when these occur (see for instance Ex.&#160;2, m.&#160;10.) This results in the generation of several tablature voices. The direction of the stem of the new entry of a part after a rest is prioritised over the part that was already there (see Fig.&#160;10, first system, m.&#160;3).<\/p>\n<h6>The use of rests<\/h6>\n<p>The pieces are characterised by a strict contrapuntal imitative style, which gives rise to a greater number of \u2018fictitious\u2019 rests than is the case in the previous prints. This can lead to a rest creating a \u2018fifth part\u2019 to highlight the entry of a theme in a specific part or to indicate that the part moves from one hand to the other (see Fig.&#160;9, second system, m.&#160;3, and Ex.&#160;2, m.&#160;8). In other measures, however, this was not deemed necessary (see Ex.&#160;2 the altus entry at m.&#160;7 or in m.&#160;12 where tenor and altus move from one hand to the other). Additionally, the incorporation of \u2018mechanical\u2019 restscanbe observed when appropriate (see Ex.&#160;2, m.&#160;13). Although these \u2018fictitious\u2019 and \u2018mechanical\u2019 restsseem to be common practice, there are numerous places where these are not added.<\/p>\n<h6>The splitting of longer notes into shorter ones<\/h6>\n<p>In general the longer note values of the partbook version are transcribed literally, with minims and semibreves, unless there is ornamentation. In a few cases semibreves are divided into two minims (see m.&#160;14), or even a minim and two crotchets (see mm.&#160;13\u201314) or a dotted minim with a crotchet.<\/p>\n<h6>The length of a <span class=\"bold_italic\">casella<\/span><\/h6>\n<p>The typical length of a <em>casella<\/em> is usually two semibreves, although there are <em>caselle<\/em> where the length is one semibreve, and others of three. In sections in three, the accentuation patterns are reflected in the length of the <em>caselle<\/em>.<\/p>\n<h6>The use of dots<\/h6>\n<p>Gardano exclusively uses dots of addition. Accidentals are indicated by sharp signs and in <em>Recercar terzo<\/em> and <em>quarto<\/em>, which are notated in <em>cantus<\/em> <em>mollis<\/em>, also by flat signs.<\/p>\n<h6>The use of ties<\/h6>\n<p>With very few exceptions ties are used exclusively across bar-lines.<\/p>\n<h6>The vertical alignment<\/h6>\n<p>Although in many cases the alignment is not perfect but intelligible, in other cases it is not optimal for our modern eyes. This is usually the case when there is abundant ornamentation.<\/p>\n<h4 class=\"9\">Conclusions<\/h4>\n<p>It can be concluded that the system of notation as described by Diruta, was already habitual around 1520.<\/p>\n<ul>\n<li class=\"Normal_Aufz\">The music is divided between the two staves according to the respective hands, rather than according to the polyphonic parts. The Antico print appears to contain the greatest number of exceptions.<\/li>\n<li class=\"Normal_Aufz\">The stem directions follow the position on the keyboard. There are never any double stems.<\/li>\n<li class=\"Normal_Aufz\">Unnecessary rest are used in all prints, more so in the stricter polyphonic genres but never consistently. In Marc\u2019Antonio Cavazzoni\u2019s print rest are used frequently in the tablature tenor on the left hand staff.<\/li>\n<li class=\"Normal_Aufz\">In contrast to many later prints (with the exception of the first Gardano print for keyboard instruments, the Buus <em>recercari<\/em>), the <em>caselle<\/em> are consistently two semibreves long. The pieces or sections in ternary time are notated as such, unlike in the 1551 Gardano print of dances and many lute tablatures.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn59\" class=\"footnote-ref\" id=\"fnref59\" role=\"doc-noteref\"><sup>59<\/sup><\/a><\/span><\/span><\/li>\n<li class=\"Normal_Aufz\">In the earlier prints dots are exclusively used to indicate alteration. Coloration is employed for what we now refer to as \u2018dotted notes\u2019. In the prints from the 1540\u2019s, the use of dots is primarily that of dots of addition. Accidentals indicate alteration; if, however, there is a lack of space, dots of alteration are exceptionally used.<\/li>\n<li class=\"Normal_Aufz\">In the overwhelming majority of cases, ties are principally used across bar lines. The earliest prints have very few ties within the bar. Later these are used for dotted rhythms and, on occasion, to join two notes of equal length, again never consistently.<\/li>\n<li class=\"Normal_Aufz\">With the exception of Marc\u2019Antonio Cavazzoni\u2019s print, the question of alignment, although it might have been perceived as the ideal, does not appear to have been given the highest priority.<\/li>\n<\/ul>\n<p>The five prints examined are diverse, with different genres of music and different degrees of precision in their notation. Even in the most skilful and rigorous polyphonic compositions, such as the <em>recercari<\/em> by Buus and the masses by Girolamo Cavazzoni, there is a notable absence of methods to explicitly delineate the individual part-writing. All the conventions to indicate the individual part-writing used today, such as using double-stemmed noteheads, keeping the stems in the direction of the parts (that is: cantus and tenor always pointing upward and altus and bassus downward) or the addition of dotted lines to indicate the crossings of the parts, were not in use at the time in question. Although certain conventions, such as the use of fictitious rests,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn60\" class=\"footnote-ref\" id=\"fnref60\" role=\"doc-noteref\"><sup>60<\/sup><\/a><\/span><\/span> can facilitate more clarity, and aid in identifying the underlying polyphony, these were not consistently employed. When they were used, they were primarily employed to highlight the entries of a <em>soggetto<\/em>.<\/p>\n<p>Keyboard music in the early modern period was conceived as an interplay between linear counterpoint and vertical sonority. Depending on the genre of a composition, emphasis could lean more towards verticality \u2013 as in Marc\u2019Antonio Cavazzoni\u2019s <em>recercari<\/em> and in dances \u2013 or more towards horizontal polyphony, as in stricter imitative <em>recercari<\/em>). As Tagliavini observed: chords were often not merely the incidental result of the simultaneous sounding of parts, but autonomous sonorities with structural significance. <em>Intavolatura<\/em> functioned as a <em>Griffschrift <\/em>\u2013 a tactile notation system that could even specify finger-lifting to avoid interference between the hands. It offers not just a way of notating music, but a way of embodying it \u2013 <em>intavolatura<\/em> was a durable system that could adapt to stylistic evolution while retaining its deeply physical, keyboard-centric orientation. Keeping the separate parts clearly distinct or notating these parts as well-aligned chords was not always the first priority. <\/p>\n<p>Although stylistic and compositional conventions may have evolved over time, the notational habits appear to have remained relatively consistent from the early 16th to the early 17th century. It seems reasonable to assume that, while the printing of keyboard music was a radically new phenomenon in 1517, the method of intabulating as described by Diruta in 1609 must have been well established by the beginning of the 16th century.<\/p>\n<p>Intavolatura&#160;was not merely a practical tool \u2013 it functioned as a musical lens, shaping how performers conceived, internalized, and realized music. When compositions originally written in separate parts were adapted for keyboard, their structural character could shift in transmission, with increased emphasis on vertical sonorities. Chords \u2013 no longer incidental byproducts of contrapuntal interaction \u2013 emerged as discrete musical units. This conceptual reorientation laid the groundwork for later shorthand systems such as short scores and basso continuo.<\/p>\n<h4>Endnotes<\/h4>\n<hr class=\"HorizontalRule-1\" \/>\n<ol>\n<li id=\"fn1\">\n<p>Ian Pritchard, \u2018Hacking the System: Italian Keyboard <em>Intavolatura<\/em> and Scribal Habit\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 42\u201365, <a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/<\/span><\/a> (accessed on 3&#160;August 2024); Ian Pritchard, \u2018Keyboard Thinking: Intersections of Notation, Composition, Improvisation and Intabulation in Sixteenth-Century Italy\u2019, PhD diss., University of Southern California, 2018, <a href=\"https:\/\/ianpritchardearlykeyboards.com\/wp-content\/uploads\/2020\/09\/ian_pritchard_dissertation.pdf\"><span class=\"Hyperlink\">https:\/\/ianpritchardearlykeyboards.com\/wp-content\/uploads\/2020\/09\/ian_pritchard _dissertation.pdf<\/span><\/a> (accessed on 3&#160;August 2024); Augusta Campagne, <em>Simone Verovio: Music Printing, Intabulations and Basso Continuo in Rome around 1600<\/em>, Wiener Ver\u00f6ffentlichungen zur Musikgeschichte 13 (Vienna, 2018), <a href=\"https:\/\/www.vr-elibrary.de\/doi\/pdf\/10.7767\/9783205207184\"><span class=\"Hyperlink\">https:\/\/www.vr-elibrary.de\/doi\/pdf\/10.7767\/9783205207184<\/span><\/a> (accessed on 3&#160;August 2024), and Augusta Campagne and Elam Rotem, <em>Keyboard Accompaniment in Italy around 1600: Intabulations, Scores and Basso Continuo<\/em> (Basel,&#160;2022), <a href=\"https:\/\/forschung.schola-cantorum-basiliensis.ch\/en\/forschung\/keyboard-accompaniment-1600.html\"><span class=\"Hyperlink\">https:\/\/forschung.schola-cantorum-basiliensis.ch\/en\/forschung\/keyboard-&#173;<\/span><span class=\"Hyperlink\">accompaniment-1600.html<\/span><\/a> (accessed on 3&#160;August 2024).<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>The direction of the stems is altered, rests are added, the distribution of the notes over the hands is changed etc., all according to modern conventions.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Alexander Silbiger, \u2018Is the Italian Keyboard <em>Intavolatura<\/em> a Tablature?\u2019, in: <em>Recercare<\/em> 3 (1991), 81\u2013103.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>John Griffiths has recently defined a tablature as a table and divided instrumental tablatures into two categories, fingerboard and matrix tablatures. He includes all keyboard tablatures in the matrix category. See John Griffiths, \u2018Keyboard Tablatures and Imaginary Instrumental Interchange in the Sixteenth Century\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 24\u201341, <a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/<\/span><\/a> (ac&#173;cessed on 3&#160;August 2024), and John Griffiths, <em>Turning the Tables: Reassessing Tablature<\/em>, paper read at the 2021 annual conference of the Musicological Society of Australia, for more information on types of tablatures, <a href=\"https:\/\/www.academia.edu\/63608978\/Turning_the_tables_reassessing_tablature\"><span class=\"Hyperlink\">https:\/\/www.academia.edu\/63608978\/Turning_the_tables_reassessing_tablature<\/span><\/a> (accessed on 3&#160;August 2024).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Girolamo Diruta, <em>Seconda parte del Transilvano Dialogo diviso in quattro libri<\/em> (Venice: Giacomo Vincenti, 1609), <a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/span><\/a> (accessed on 3&#160;August 2024). Translation in Edward Soehnlein, \u2018Diruta on the Art of Keyboard-Playing: An Annotated Translation and Transcription of Il Transilvano, Parts I (1593) and II (1609)\u2019, PhD diss., University of Michigan, 1975.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Pritchard \u2018Hacking the System\u2019 (see n.&#160;1), 71.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>As the objective of this article is to examine the notation, ornamentation and other stylistic aspects have not been taken into account. This is the subject of several other more recent studies, for example Vania Dal Maso\u2019s article in this volume as well as Ian Pritchard, \u2018Hacking the System\u2019 (see n. 1), \u2018Keyboard Thinking\u2019 (see n. 1), and Leon Chisholm, \u2018Keyboard Playing and the Mechanization of Polyphony, Circa 1600\u2019, PhD diss., University of California, Berkeley, 2015, <a href=\"https:\/\/escholarship.org\/uc\/item\/950881g4\"><span class=\"Hyperlink\">https:\/\/escholarship.org\/uc\/item\/950881g4<\/span><\/a> (accessed on 31&#160;August 2024), as well as Catalina Vicens\u2019 forthcoming PhD thesis \u2018Printed Keyboard Intabulation of Secular Vocal Works and Dances in 16th-century Italy\u2019.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>On plucked instruments from the lute family, some notes are stopped automatically, when the next note is played on the same string, whereas others are left to sound and can be stopped manually, like on the harp, if there is time.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Girolamo Diruta, <em>Il Transilvano dialogo sopra il vero modo di sonar<\/em> <em>organi, &amp; istromenti da penna<\/em> (Venice: Giacomo Vincenti, 1593), fol.&#160;5<span class=\"Hochgestellt\">r<\/span>. There are several later editions with varying page numbers. I will be referring to the 1593 edition, <a href=\"http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422\"><span class=\"Hyperlink\">http:\/\/hdl.loc.gov\/loc.music\/muspre 1800.100422<\/span><\/a> (accessed on 29&#160;July 2024).<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Ibid., fol.&#160;6r.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>See Robert Floyd Judd, \u2018The Use of Notational Formats at the Keyboard: A Study of Printed Sources of Keyboard Music in Spain and Italy c.&#160;1500\u20131700, Selected Manuscript Sources Including Music by Claudio Merulo, and Contemporary Writings Concerning Notations\u2019, 2&#160;vols., PhD diss., University of Oxford, 1989, Tab.&#160;3.3, 89, <a href=\"https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile\"><span class=\"Hyperlink\">https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile<\/span><\/a> (accessed on 3&#160;August 2024). Four prints are in four-part score (three of which were manufactured in Naples) and one in a number tablature (see the article by Paola Erdas in this volume). This number does not include partbook editions that mention keyboards on the title page.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>See Ian Pritchard, \u2018Hacking the System\u2019 (see n.&#160;1).<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>CZ-Pk.54 E 102.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>GB-Lbl K.8.b.8 and US-Cn VAULT Case minus VM 7-63.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p><a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_S\/S002\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/&#173;gaspari\/_S\/S002\/<\/span><\/a> (accessed on 2&#160;Sept. 2024).<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p><a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_S\/S411\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/&#173;ripro\/gaspari\/_S\/S411\/<\/span><\/a> (accessed on 2&#160;Sept. 2024), bound together with another copy of libro primo.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>GB-Lbl K.1.f.16 and B-Bc 26.671 (incomplete).<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Girolamo Diruta, <em>Seconda parte<\/em> (see n.&#160;5), 1.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>The first thing that meets the eye when examining <em>intavolature<\/em> is, that unlike the &#173;modern piano notation or the <em>scala decemlinealis<\/em>, there is an overlap in the notes covered by the two staves. Depending on the clefs employed five or more notes can be notated on both staves, if to be played by the right hand on the top staff, or for the left hand on the bottom staff.<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>See <a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/8\/82\/IMSLP352519-PMLP569345-codex_faenza.pdf\"><span class=\"Hyperlink\">https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/8\/82\/IMSLP352519-PMLP569345-codex_faenza.pdf<\/span><\/a><span class=\"Hyperlink\"><\/span> (accessed on 3&#160;August 2024). See Michael Kugler, <em>Die Tastenmusik im Codex Faenza<\/em>, M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte 21 (Tutzing, 1972), 34\u201342, esp. 38. See also Pedro Memelsdorff (ed.), <em>The Codex Faenza 117: Instrumental Polyphony in Late Medieval Italy. Introductory Study and Facsimile<\/em>, Ars Nova ser. n. 3 (Lucca, 2013).<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>For further information on how to intabulate see Campagne, <em>Simone Verovio<\/em> (see n.&#160;1), 167\u201374, and Pritchard, \u2018Hacking the System\u2019 (see n.&#160;1), or watch Elam Rotem\u2019s video <a href=\"https:\/\/www.earlymusicsources.com\/youtube\/diruta\"><span class=\"Hyperlink\">https:\/\/www.earlymusicsources.com\/youtube\/diruta<\/span><\/a> (accessed on 6&#160;Sept. 2024).<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>In some fifteenth-century manuscripts colour coding was employed to distinguish specific voices. For example in I-PEc MS 3410, fol.&#160;G&#160;I, the scribe uses black and white notation to differentiate between the two distinct parts on the left-hand stave, see Memelsdorff, <em>The Codex Faenza<\/em> (see n.&#160;20), 178.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Pritchard \u2018Hacking the System\u2019 (see n.&#160;1), 53.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>Luigi Ferdinando Tagliavini, \u2018Die italienische Orgelmusik vom Codex Faenza bis Giovanni Gabrieli\u2019, in: <em>Orgel und Orgelspiel im 16. Jahrhundert . Tagungsbericht Innsbruck 9.\u201312.6. 1977<\/em>, ed. Walter Salmen (Innsbruck , 1978), 70\u20136, at 72: \u2018Der \u201cAkkord\u201d ist kein ausschlie\u00dfliches Ergebnis der Stimmbewegung mehr, sondern wird zu einem eigenst\u00e4ndigen Element; Akkorde vollstimmig zu greifen und die Harmonien auszukosten geh\u00f6rt zur neuen Kunst der Orgel- und Klaviervirtuosen.\u2019<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>Diruta, <em>Seconda parte<\/em> (see n.&#160;5), 2. This was already the case in fifteenth-century Italian keyboard manuscripts such as the Codex Faenza and other shorter manuscripts (see Kugler, <em>Die Tastenmusik<\/em> [see n. 20]).<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>Pritchard, \u2018Hacking the System\u2019 (see n.&#160;1), 52.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Rests when there are no rests in the original parts. See Silbiger, \u2018Italian Keyboard <em>Intavola&#173;tura<\/em>\u2019 (see n.&#160;3), 83.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>The term \u2018mechanical\u2019 rest is suggested by Pritchard in \u2018Hacking the System\u2019 (see n.&#160;1), 52.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Ibid.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Ibid., 64.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>See Vania Dal Maso\u2019s article in this volume.<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>For a mid-sixteenth-century description see for example Claudio Sebastiani, <em>Bellum musicale <\/em>(Strasbourg: Paulus Macherop\u00e4us, 1563), Cap.&#160;XII, L3, <a href=\"https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k8709495z\"><span class=\"Hyperlink\">https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k8709495z#<\/span><\/a> (accessed on 3&#160;August 2024).<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>Diruta, <em>Seconda parte<\/em> (see n.&#160;5), 9.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>New modern edition: Andrea Antico, <em>Frottole intabulate da sonare organi (Roma, 1517)<\/em>, ed. Maria Luisa Baldassari (Bologna, 2016).<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>The first to do so was Knud Jeppesen in <em>Die Italienische Orgelmusik am Anfang des Cinque&#173;cento<\/em> (Copenhagen, 1943).<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>How much this is due to the technical limitations of woodcutting is not clear.<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>For a detailed discussion of the relationship between text and the accentuation patterns see Fabio Antonio Falcone, \u2018On the Performance Practice of Andrea Antico\u2019s <em>Frottole intabulate da sonare organi, libro primo<\/em> (Rome, 1517)\u2019, in: \u2018<em>Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 112\u201335, <a href=\"https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-07\">https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-07<\/a> (accessed on 30 July 2024).<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>Ibid.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p><em>Frottole libro septimo<\/em> (Venice: Ottavio Petrucci, 1507), <a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00082313\"><span class=\"Hyperlink\">https:\/\/mdz-nbn-resolving.de\/details:bsb00082313<\/span><\/a> (accessed on 30&#160;July 2024).<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>In the transcription, care has been taken to remain as close to the original as possible regarding the division of notes over the hands, as well as the note values, stem directions, rests, dots and ties. Due to technical limitations, it was not possible to replicate the original note values as documented in the partbook version. Consequently, the parts contain a multitude of ties that are not present in the source material. Notable adaptations of the notational aspects are indicated in red. For obvious reasons the alignment has been modernised.<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>Cristina Cassia, \u2018Authorship in Sixteenth-Century Italian Printed Keyboard Music\u2019, in: <em>Studies on Authorship in Historical Keyboard Music<\/em>, ed. Andrew Wooley (Abingdon\/New York, 2024), 32\u201356, at 33\u20134.<a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p><a href=\"https:\/\/edit16.iccu.sbn.it\/editore\/CNCT000442\"><span class=\"Hyperlink\">https:\/\/edit16.iccu.sbn.it\/editore\/CNCT000442<\/span><\/a> (accessed on 2&#160;Sept. 2024). He was known for printing theological and philosophical works.<a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>John Ward, \u2018The Use of Borrowed Material in Sixteenth-Century Instrumental Music\u2019, in: <em>JAMS<\/em> 5 (1952), 88\u201398.<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>See Martin Picker, \u2018A Josquin Parody by Marco Antonio Cavazzoni\u2019, in:<em> TVNM<\/em> 22 (1972), No.&#160;3, 157\u20139. Picker shows that <em>Plus.ne regres <\/em>is based on material from the famous five-part chanson by Josquin <em>Plusieurs regretz<\/em> (see Josquin Desprez, <em>Secular works for five voices<\/em>, NJE 29.21, ed. Patrick Macey [Utrecht, 2017])<em>.<\/em> The other chansons have not been identified. For an in depth comparison of these pieces see Chisolm, \u2018The Mechanization\u2019 (see n.&#160;7), 27\u201338.<a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>These kind of rest in the tablature tenor cannot be found in the other <em>intavolatura<\/em> prints, but in the Castel\u2019 Arquato Ms, fasc.&#160;2, 3, they do appear sporadically. See Pritchard, \u2018Keyboard Thinking\u2019 (see n.&#160;1), 198, Ex.&#160;2.14 from the \u2018Jaches\u2019 <em>Missa de la domenica; Chirie<\/em>.<a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn46\">\n<p>It would be possible to speculate that this is for the sake of clarity, but further practice-based research is needed.<a href=\"#fnref46\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn47\">\n<p>See Chisholm, \u2018Keyboard Playing\u2019 (see n.&#160;7), 39.<a href=\"#fnref47\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn48\">\n<p>In the critical notes of his modern edition most of the corrections Tamminga mentions are related to missing dots of alteration and missing ties and rests, all comprehensible additions, but personal choices. See Marco Antonio Cavazzoni, <em>Recerchari Motetti Canzoni Libro Primo (Venezia 1523), Recercada (CastellArquato, II)<\/em>, ed. Liuwe Tamminga, Tastata 23 (Latina, 2009), xii\u2013xv.<a href=\"#fnref48\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn49\">\n<p>I-Bc S411. The title page and dedication are not included in the second copy I-Bc S002.<a href=\"#fnref49\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn50\">\n<p>I-Bc S003 <a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_S\/S003\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_S\/S003\/<\/span><\/a> (accessed on 2&#160;Sept. 2024).<a href=\"#fnref50\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn51\">\n<p>According to most modern research B.V. is probably Bernardino Vitali rather than Bernardino Vercellense, although Judd believed the latter was the printer, citing the similarities between Girolamo\u2019s double impression prints and that of his father. See Judd, \u2018The Use of Notational Formats\u2019 (see n.&#160;11), App. A, 6; Claudio Sartori, \u2018Precisazioni bibliografiche sulle opera di Girolamo Cavazzoni\u2019, in: <em>RMI 44 <\/em>(1940), 359\u201366; Stanley Boorman, Art. \u2018Vitali, Bernardino\u2019, in: <em>Grove Music Online<\/em>, <a href=\"http:\/\/www.oxfordmusiconline.com\/\"><span class=\"Hyperlink\">http:\/\/www.oxfordmusiconline.com\/<\/span><\/a> (accessed on 2 Sept. 2024). I would like to thank Jane Bernstein for kindly providing me with this information.<a href=\"#fnref51\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn52\">\n<p>The first book was brought out in 1547: <em>Recercari di M. Jacques Bvvs organista in Santo Marco di Venetia da cantare &amp; sonare d\u2019organo &amp; altri stromenti nouamenti posti in luce. Libro primo. A quattro Voci <\/em>(Venice: Antonio Gardano, 1547). This edition, containing ten <em>recercari<\/em> was also printed in partbook format. <a href=\"https:\/\/stimmbuecher.digitale-sammlungen.de\/view?id=bsb00071914\"><span class=\"Hyperlink\">https:\/\/stimmbuecher.digitale-sammlungen.de\/view?id=bsb00071914<\/span><\/a> (accessed on 30&#160;Sept. 2024).<a href=\"#fnref52\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn53\">\n<p>Jane Bernstein, <em>Print Culture and Music in Sixteenth-Century Venice<\/em> (New York, 2001), 65.<a href=\"#fnref53\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn54\">\n<p>\u2018Essendo io dalli preghi de molti amici stato astretto \u00e0 dovere dare in luce I Ricercari in Tavolatura ad instantia vostra da me fatti\u2019. Jacques Buus, <em>Intabolatura d\u2019organo di recerari di M. Giaques Buus <\/em>(Venice: Antonio Gardano, 1549): opening of the dedication \u2018al molto Nobile, &amp; Vertuoso Giovane M. Paolo di Hama\u2019. This was a common topos at the time.<a href=\"#fnref54\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn55\">\n<p>See for example Gordon Sutherland, \u2018The Ricercari of Jacques Buus\u2019, in: <em>MQ <\/em>31 (1945), 448\u201363, and the preface to the modern edition, <em>Jacobus Buus Orgelwerke I. Intabolatura d\u2019organo Venezia 1549 Quattro recercari<\/em>, ed. Thomas Daniel Schlee (Vienna, 1980), and Filipe Mesquita de Oliveira, \u2018Some Aspects of P-Cug, MM 242: Antonio Carreira\u2019s Keyboard <em>tentos<\/em> and His <em>fantasias<\/em> and Their Close Relationship with Jacques Buus\u2019s <em>ricercari<\/em> from His <em>Libro<\/em> <em>primo<\/em>\u2019, in: <em>Interpreting Historical Keyboard Music<\/em>, ed. Andrew Wooley and John Kitchen (Abingdon, 2013), 7\u201318, at 8 and 13.<a href=\"#fnref55\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn56\">\n<p>Aside from <em>intavolatura<\/em>, the only other tablature system used in Italy was that developed by Antonio Valente, a blind organist active in Naples. His system numbered the keys from bottom to top rather than employing mensural notation. As in lute tablature, only the fastest rhythmic value is explicitly notated. In the case of the Buus publication, the Brussels copy presents an especially intriguing example where someone attempted to translate one notational system into another (see Fig.&#160;10).<a href=\"#fnref56\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn57\">\n<p>Diruta, <em>Seconda parte <\/em>(see n.&#160;5), 18\u201321.<a href=\"#fnref57\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn58\">\n<p>See Mesquita de Oliveira, \u2018Some Aspects\u2019 (see n.&#160;55), 12.<a href=\"#fnref58\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn59\">\n<p>See Vania Dal Maso article in this volume, which also points out the similarities between the dances for lute and the Gardano print.<a href=\"#fnref59\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn60\">\n<p>Other signs to indicate exact part writing, such as for example <em>custos<\/em>, can be seen in the Attaignant prints, English Virginalist notation and the Layolle manuscript. See Pritchard, \u2018Hacking the System\u2019 (see n.&#160;1).<a href=\"#fnref60\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"10\">Bibliography<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Andrea Antico, <em>Frottole intabulate da sonare organi libro primo<\/em> (Rome: Andrea Antico, 1517)<\/p>\n<p class=\"bibliography\">Andrea Antico, <em>Frottole intabulate da sonare organi (Roma, 1517)<\/em>, ed. Maria Luisa Baldassari (Bologna, 2016)<\/p>\n<p class=\"bibliography\">Jane Bernstein, <em>Print Culture and Music in Sixteenth-Century Venice<\/em> (New York, 2001)<\/p>\n<p class=\"bibliography\">Stanley Boorman, Art. \u2018Vitali, Bernardino\u2019, in: <em>Grove Music Online<\/em>, <a href=\"http:\/\/www.oxfordmusiconline.com\/\"><span class=\"Hyperlink\">http:\/\/www.oxfordmusiconline.com\/<\/span><\/a><\/p>\n<p class=\"bibliography\"><em>Jacobus Buus Orgelwerke I. Intabolatura d\u2019organo Venezia 1549 Quattro recercari<\/em>, ed. Thomas Daniel Schlee (Vienna, 1980)<\/p>\n<p class=\"bibliography\">Jacques Buus, <em>Intabolatura d\u2019organo di recerari di M. Giaques Buus <\/em>(Venice: Antonio Gardano, 1549)<\/p>\n<p class=\"bibliography\">Jacques Buus, <em>Recercari di M. Jacques Bvvs organista in Santo Marco di Venetia da cantare &amp; sonare d\u2019organo &amp; altri stromenti nouamenti posti in luce. Libro primo. A quattro Voci <\/em>(Venice: Antonio Gardano, 1547), <a href=\"https:\/\/stimmbuecher.digitale-sammlungen.de\/view?id=bsb00071914\"><span class=\"Hyperlink\">https:\/\/stimmbuecher.digitale-sammlungen.de\/view?id=bsb00071914<\/span><\/a><\/p>\n<p class=\"bibliography\">Jacques Buus, <em>Il secondo libro di recercari<\/em> [\u2026] <em>da cantare, &amp; sonare d\u2019organo &amp; altri stromenti<\/em> (Venice: Antonio Gardano, 1549)<\/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), <a href=\"https:\/\/www.vr-elibrary.de\/doi\/pdf\/10.7767\/9783205207184\"><span class=\"Hyperlink\">https:\/\/www.vr-elibrary.de\/doi\/pdf\/10.7767\/9783205207184<\/span><\/a><\/p>\n<p class=\"bibliography\">Augusta Campagne and Elam Rotem, <em>Keyboard Accompaniment in Italy around 1600: Intabulations, Scores and Basso Continuo<\/em> (Basel, 2022), <a href=\"https:\/\/forschung.schola-cantorum-basiliensis.ch\/en\/forschung\/keyboard-accompaniment-1600.html\"><span class=\"Hyperlink\">https:\/\/forschung.schola-cantorum-basiliensis.ch\/en\/forschung\/keyboard-accompaniment-1600.html<\/span><\/a><\/p>\n<p class=\"bibliography\">Cristina Cassia, \u2018Authorship in Sixteenth-Century Italian Printed Keyboard Music\u2019, in: <em>Studies on Authorship in Historical Keyboard Music<\/em>, ed. Andrew Wooley (Abingdon\/New York, 2024), 32\u201356<\/p>\n<p class=\"bibliography\">Girolamo Cavazzoni, <em>Intabulatura dorgano, cioe misse himni magnificat <\/em>[\u2026] <em>libro secondo<\/em> (Venice: [n.p.], [1542?]), <a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_S\/S411\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_S\/S411\/<\/span><\/a><\/p>\n<p class=\"bibliography\">Girolamo Cavazzoni, <em>Intavolatura cioe recercari canzoni himni magnificati <\/em>[\u2026]<em> libro primo<\/em> (Venice: [Bernardino Vitali?], 1543), <a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_S\/S002\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_S\/S002\/<\/span><\/a><\/p>\n<p class=\"bibliography\">Marc\u2019Antonio Cavazzoni, <em>Recerchari motetti canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venice: Bernardo Vercelensis, 1523)<\/p>\n<p class=\"bibliography\">Marco Antonio Cavazzoni, <em>Recerchari Motetti Canzoni Libro Primo (Venezia 1523), Recercada (CastellArquato, II)<\/em>, ed. Liuwe Tamminga, Tastata 23 (Latina, 2009)<\/p>\n<p class=\"bibliography\">Leon Chisholm, \u2018Keyboard Playing and the Mechanization of Polyphony, Circa 1600\u2019, PhD diss., University of California, Berkeley, 2015, <a href=\"https:\/\/escholarship.org\/uc\/item\/950881g4\"><span class=\"Hyperlink\">https:\/\/escholarship.org\/uc\/item\/950881g4<\/span><\/a><\/p>\n<p class=\"bibliography\">Girolamo Diruta, <em>Seconda parte del Transilvano Dialogo diviso in quattro libri<\/em> (Venice: Giacomo Vincenti, 1609), <a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/span><\/a><\/p>\n<p class=\"bibliography\">Girolamo Diruta, <em>Il Transilvano dialogo sopra il vero modo di sonar<\/em> <em>organi, &amp; istromenti da penna<\/em> (Venice: Giacomo Vincenti, 1593), <a href=\"http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422\"><span class=\"Hyperlink\">http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422<\/span><\/a><\/p>\n<p class=\"bibliography\">Fabio Antonio Falcone, \u2018On the Performance Practice of Andrea Antico\u2019s <em>Frottole intabulate da sonare organi, libro primo<\/em> (Rome, 1517)\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 112\u201335, <a href=\"https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-07\">https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-07<\/a><\/p>\n<p class=\"bibliography\"><em>Frottole libro septimo<\/em> (Venice: Ottavio Petrucci, 1507), <a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00082313\"><span class=\"Hyperlink\">https:\/\/mdz-nbn-resolving.de\/details:bsb00082313<\/span><\/a><\/p>\n<p class=\"bibliography\">John Griffiths, \u2018Keyboard Tablatures and Imaginary Instrumental Interchange in the Sixteenth Century\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 24\u201341, <a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/<\/span><\/a><\/p>\n<p class=\"bibliography\">John Griffiths, <em>Turning the Tables: Reassessing Tablature<\/em>, paper read at the 2021 annual conference of the Musicological Society of Australia, for more information on types of tablatures, <a href=\"https:\/\/www.academia.edu\/63608978\/Turning_the_tables_reassessing_tablature\"><span class=\"Hyperlink\">https:\/\/www.academia.edu\/63608978\/Turning_the_tables_reassessing_tablature<\/span><\/a><\/p>\n<p class=\"bibliography\">Knud Jeppesen in <em>Die Italienische Orgelmusik am Anfang des Cinquecento<\/em> (Copenhagen, 1943)<\/p>\n<p class=\"bibliography\">Josquin Desprez, <em>Secular works for five voices<\/em>, NJE 29.21, ed. Patrick Macey (Utrecht, 2017)<\/p>\n<p class=\"bibliography\">Robert Floyd Judd, \u2018The Use of Notational Formats at the Keyboard: A Study of Printed Sources of Keyboard Music in Spain and Italy c.&#160;1500\u20131700, Selected Manuscript Sources Including Music by Claudio Merulo, and Contemporary Writings Concerning Notations\u2019, 2&#160;vols., PhD diss., University of Oxford, 1989, <a href=\"https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile\"><span class=\"Hyperlink\">https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile<\/span><\/a><\/p>\n<p class=\"bibliography\">Michael Kugler, <em>Die Tastenmusik im Codex Faenza<\/em>, M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte 21 (Tutzing, 1972)<\/p>\n<p class=\"bibliography\">Pedro Memelsdorff (ed.), <em>The Codex Faenza 117: Instrumental Polyphony in Late Medieval Italy. Introductory Study and Facsimile<\/em>, Ars Nova ser. n.&#160;3 (Lucca, 2013)<\/p>\n<p class=\"bibliography\">Filipe Mesquita de Oliveira, \u2018Some Aspects of P-Cug, MM 242: Antonio Carreira\u2019s Keyboard <em>tentos<\/em> and His <em>fantasias<\/em> and Their Close Relationship with Jacques Buus\u2019s <em>ricercari<\/em> from His <em>Libro<\/em> <em>primo<\/em>\u2019, in: <em>Interpreting Historical Keyboard Music<\/em>, ed. Andrew Wooley and John Kitchen (Abingdon, 2013), 7\u201318<\/p>\n<p class=\"bibliography\">Martin Picker, \u2018A Josquin Parody by Marco Antonio Cavazzoni\u2019, in:<em> TVNM<\/em> 22 (1972), No.&#160;3, 157\u20139<\/p>\n<p class=\"bibliography\">Ian Pritchard, \u2018Hacking the System: Italian Keyboard <em>Intavolatura<\/em> and Scribal Habit\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), <a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/<\/span><\/a><\/p>\n<p class=\"bibliography\">Ian Pritchard, \u2018Keyboard Thinking: Intersections of Notation, Composition, Improvi&#173;sation and Intabulation in Sixteenth-Century Italy\u2019, PhD diss., University of Southern California, 2018, <a href=\"https:\/\/ianpritchardearlykeyboards.com\/wp-content\/uploads\/2020\/09\/ian_pritchard_dissertation.pdf\"><span class=\"Hyperlink\">https:\/\/ianpritchardearlykeyboards.com\/wp-content\/uploads\/2020\/09\/ian_pritchard_dissertation.pdf<\/span><\/a><\/p>\n<p class=\"bibliography\">Claudio Sartori,\u2018Precisazioni bibliografiche sulle opera di Girolamo Cavazzoni\u2019, in: <em>RMI 44 <\/em>(1940), 359\u201366<\/p>\n<p class=\"bibliography\">Claudio Sebastiani, <em>Bellum musicale <\/em>(Strasbourg: Paulus Macherop\u00e4us, 1563), <a href=\"https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k8709495z\"><span class=\"Hyperlink\">https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k8709495z#<\/span><\/a><\/p>\n<p class=\"bibliography\">Alexander Silbiger, \u2018Is the Italian Keyboard <em>Intavolatura<\/em> a Tablature?\u2019, in: <em>Recercare<\/em> 3 (1991), 81\u2013103<\/p>\n<p class=\"bibliography\">Edward Soehnlein, \u2018Diruta on the Art of Keyboard-Playing: An Annotated Translation and Transcription of Il Transilvano, Parts I (1593) and II (1609)\u2019, PhD diss., University of Michigan, 1975<\/p>\n<p class=\"bibliography\">Gordon Sutherland, \u2018The Ricercari of Jacques Buus\u2019, in: <em>MQ <\/em>31 (1945), 448\u201363<\/p>\n<p class=\"bibliography\">Luigi Ferdinando Tagliavini, \u2018Die italienische Orgelmusik vom Codex Faenza bis Giovanni Gabrieli\u2019, in: <em>Orgel und Orgelspiel im 16. Jahrhundert . Tagungsbericht Innsbruck 9.\u201312.6. 1977<\/em>, ed. Walter Salmen (Innsbruck , 1978), 70\u20136<\/p>\n<p class=\"bibliography\">John Ward, \u2018The Use of Borrowed Material in Sixteenth-Century Instrumental Music\u2019, in: <em>JAMS<\/em> 5 (1952), 88\u201398<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Notational Conventions in Early Sixteenth Century Printed Italian Keyboard Intavolature Augusta Campagne &nbsp; Introduction The vast majority of extant keyboard music in 16th-century Italy was notated in intavolatura d\u2019organo or intavolatura di cimbalo. Other common methods for the printing of music for keyboard instruments included the use of either partbooks (from 1540 onwards) or open &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[271],"tags":[],"class_list":["post-7857","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century-2-italy"],"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 II &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-003\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hacking the System II &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Notational Conventions in Early Sixteenth Century Printed Italian Keyboard Intavolature Augusta Campagne &nbsp; Introduction The vast majority of extant keyboard music in 16th-century Italy was notated in intavolatura d\u2019organo or intavolatura di cimbalo. 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