{"id":2770,"date":"2024-06-04T12:08:36","date_gmt":"2024-06-04T10:08:36","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=2770"},"modified":"2025-07-09T14:23:22","modified_gmt":"2025-07-09T12:23:22","slug":"mdwp03-singing-reading","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp03-singing-reading\/","title":{"rendered":"Singing, Reading, Writing, Playing"},"content":{"rendered":"<h2 class=\"subtitle\">Practising with Tom\u00e1s de Santa Mar\u00eda<\/h2>\n<h3 class=\"author\"><em>August Valentin Rabe<\/em> <a href=\"https:\/\/orcid.org\/0000-0002-2020-388X\"><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><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        blockquote.tsquotation p em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }<\/p>\n<p>        figure {\n            margin: 0;\n        }\n        audio {\n            margin-top: 0.5em;\n        }\n    <\/style>\n<p><\/head><br \/>\n<\/p>\n<p style=\"text-align: left;\"><div class=\"one_half\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-hacking-the-system\" style=\"color:#000000 !important;\">Previous chapter<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-ornamentation-note-values\" style=\"color:#000000 !important;\">Next chapter<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<div 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ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%22A7PSW43Z%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Rabe%22%2C%22parsedDate%22%3A%222024%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BRabe%2C%20August%20Valentin.%202024.%20%26%23x201C%3BSinging%2C%20Reading%2C%20Writing%2C%20Playing%3A%20Practising%20with%20Tom%26%23xE1%3Bs%20de%20Santa%20Mar%26%23xED%3Ba.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3B%26%23x2018%3BUniversum%20Rei%20Harmonicae%20Concentum%20Absolvunt%26%23x2019%3B.%20The%20Harpsichord%20in%20the%20Sixteenth%20Century%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Augusta%20Campagne%20and%20Markus%20Grassl.%20mdwPress.%20%26lt%3Ba%20class%3D%26%23039%3Bzp-ItemURL%26%23039%3B%20href%3D%26%23039%3Bhttps%3A%5C%2F%5C%2Fdx.doi.org%5C%2F10.21939%5C%2Fharpsichord-16c-05%26%23039%3B%26gt%3Bhttps%3A%5C%2F%5C%2Fdx.doi.org%5C%2F10.21939%5C%2Fharpsichord-16c-05%26lt%3B%5C%2Fa%26gt%3B.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3DA7PSW43Z%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Singing%2C%20Reading%2C%20Writing%2C%20Playing%3A%20Practising%20with%20Tom%5Cu00e1s%20de%20Santa%20Mar%5Cu00eda%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22August%20Valentin%22%2C%22lastName%22%3A%22Rabe%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Augusta%22%2C%22lastName%22%3A%22Campagne%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Markus%22%2C%22lastName%22%3A%22Grassl%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22%5Cu2018Universum%20rei%20harmonicae%20concentum%20absolvunt%5Cu2019.%20The%20Harpsichord%20in%20the%20Sixteenth%20Century%22%2C%22date%22%3A%222024%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22https%3A%5C%2F%5C%2Fdx.doi.org%5C%2F10.21939%5C%2Fharpsichord-16c-05%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en-GB%22%2C%22collections%22%3A%5B%22UUBXGTMU%22%5D%2C%22dateModified%22%3A%222024-10-24T11%3A04%3A33Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-2770-4511395-A7PSW43Z\" data-zp-author-date='Rabe-2024' data-zp-date-author='2024-Rabe' data-zp-date='2024' data-zp-year='2024' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Rabe, August Valentin. 2024. \u201cSinging, Reading, Writing, Playing: Practising with Tom\u00e1s de Santa Mar\u00eda.\u201d In <i>\u2018Universum Rei Harmonicae Concentum Absolvunt\u2019. The Harpsichord in the Sixteenth Century<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-05'>https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-05<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=A7PSW43Z' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nThis article approaches the question how people practised at a keyboard instrument in the 16th century by evaluating the most extensive source, Tom\u00e1s de Santa Mar\u00eda\u2019s <em>Arte de ta\u00f1er Fantasia<\/em> (1565). Avoiding specific problems such as fingering or hand position, this article focuses on how practising can be organized, and how the advice given in the historical source can be applied in today\u2019s didactic practice. As the hints scattered throughout the treatise suggest, learning is guided by an active engagement with singing, solmization and written-out compositions in various notational formats \u2013 instead of merely \u2018interpreting works\u2019. Equipped with a plethora of musical ideas and motor patterns acquired through vocal and instrumental experience, a skilled musician \u2013 in the sense of Santa Mar\u00eda \u2013 can play polyphonic pieces based on paired imitations spontaneously, which sound as if they were written-out compositions.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><div class=\"toggle-content\"><p>\n<strong>August Valentin Rabe<\/strong> has been a postdoctoral researcher in the New Senfl Edition at the University of Music and Performing Arts Vienna since March 2022. He studied musicology, musical performance, harpsichord and art history at the Hochschule f\u00fcr Musik Franz Liszt Weimar and the Friedrich Schiller University Jena and received his doctorate from the University of Vienna in 2021 with the thesis <em>\u201eBenutze nun die Tafeln selbst\u201c. Sammeln, Schreiben, Lehren und \u00dcben mit einem Fundamentum (ca. 1440\u20131550)<\/em>. Making vocal and instrumental music from historical notations fascinates him as much as the scholarly questions it raises.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">The Most Important Source for Practising in the Sixteenth Century<\/a><br \/>\n<a href=\"#2\">Content and Didactic Concept<\/a><br \/>\n<a href=\"#3\">Reading &amp; Singing<\/a><br \/>\n<a href=\"#4\">Memorising, Writing &amp; Playing<\/a><br \/>\n<a href=\"#5\">A Model for Practising in Stages and Suggestions for Practising and Teaching Today<\/a><br \/>\n<a href=\"#6\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/pub.mdw.ac.at\/pubmdw\/publication\/03989db9-1af9-4797-aec7-286046757577\" target=\"_blank\" rel=\"nofollow\" style=\"color:#000000 !important;\">Chapter PDF<\/a><\/span>\n<div id=\"1\">\n<h4>The Most Important Source for Practising in the Sixteenth Century<\/h4>\n<\/div>\n<p>How did people practise at the keyboard instrument in the 16th century and how might attempting to answer this question help us with practising and teaching today? As neither historical musicology nor music pedagogy has yet addressed this research question, the topic remains a desideratum. In his 1910 classic, Otto Kinkeldey paraphrased some of Tom\u00e1s de Santa Mar\u00eda\u2019s passages on practising, but this first spark failed to ignite any further scholarly engagement with this topic.<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> Today, in the context of ever more fine-grained historically informed <em>performance<\/em> practice, historically informed <em>teaching<\/em> practice has become a burgeoning field.<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/p>\n<p>The lacuna is partly due to the extreme dearth of sources: few clues on how people practised survive from the first half of the century.<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> But Tom\u00e1s de Santa Mar\u00eda\u2019s <em>Arte de ta\u00f1er Fantasia<\/em>, published 1565, provides the most detailed and valuable source on practising keyboard instruments from any time in the 16th century.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> Santa Mar\u00eda, who had signed a contract<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a> with the printer Francisco Fernandez de Cordova to publish an impressive edition of 1500 copies of his treatise, had probably been preparing the encyclopaedic treatise since around 1541.<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> His book on <em>ta\u00f1er fantasia<\/em>, i.e. extemporising polyphony, primarily concerns the clavichord, but the title and prologue explicitly clarify its additional applicability to the vihuela and all other instruments on which polyphonic playing is possible. The text provides a detailed description of several ways in which individuals might practise essential keyboard skills. But Santa Mar\u00eda\u2019s thoughts and suggestions on the subject are scattered throughout the two-volume treatise.<\/p>\n<p>In this chapter, I consider these passages together for the first time. Doing so not only discloses the treatise\u2019s overarching didactic concept but also allows for a description of individual areas of practice. I finish by deriving a model for practising in stages from the analysis and summarise some of the advice that keyboard instrumentalists can productively put to use when practising, teaching, and making music today.<\/p>\n<p>My choice of topics is necessarily selective. I am deliberately omitting special performance areas such as hand position, fingering or ornamentation. On one hand, research has already been conducted on these topics.<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> On the other, a full understanding of Santa Mar\u00eda\u2019s instruction in these areas would require extensive practical evaluation and testing. As this is still pending, this cannot be included in the current article.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/p>\n<div id=\"2\">\n<h4>Content and Didactic Concept<\/h4>\n<\/div>\n<p>As its title indicates, the two-volume book aims to teach the \u2018art of playing fantasia\u2019. The first volume deals with prerequisites, the second with the actual art of polyphonic playing.<\/p>\n<p>Among the prerequisites, Santa Mar\u00eda lists solmization, hexachords, hexachord mutations (Volume\u00a0I, chapters 1\u20134 ), the basics of mensural notation (I, 5\u20136) and <em>musica ficta<\/em> (I, 7). He also discusses a (keyboard) instrument\u2019s limitations compared to the singing voice \u2013 for example, the absence of certain pitches and the impossibility, due to the tuning system, of forming all intervals from every note (I, 8\u201312). He also deals with what we would call hand position, touch, articulation, runs and scales, fingering, rhythmic playing and ornamentation (I, 13\u201319b<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a>). This is followed by instructions on how pieces notated in mensural notation may be used productively in one\u2019s instrumental practice (I, 20\u201322). Following a brief examination of diminutions (I, 23), the author turns to the eight modes and their transpositions (I, 24\u201325), concluding with a detailed treatment of <em>clausulae<\/em> in two, three and four parts (I, 26).<\/p>\n<p>The first volume covers many topics also widely addressed in <em>Musica practica<\/em> treatises or textbooks that treat composition in mensural notation. This fact alone demonstrates that one of Santa Mar\u00eda\u2019s central approaches to playing the keyboard is through singing and making music from mensural notation in an ensemble with other musicians.<\/p>\n<p>The second volume begins with a detailed treatment of the topics of consonance and dissonance (II, 1\u201310). Following this, there are several series of chapters discussing homophonic texture. The \u2018rising and falling in consonances\u2019 (<em>subir y baxar a consonancias<\/em>) begins with a variety of ways in which stepwise motions in the treble can be set polyphonically (II, 11\u201313). This concept is elaborated in a series of chapters on how tonal progressions in <em>semibreves<\/em> in the treble \u2013 starting from repeated notes and progressing through increasing intervals to octaves \u2013 can be worked out (II, 14\u201322). The same content follows for <em>minimae<\/em> (II, 23\u201328) and even <em>semiminimae<\/em> (II, 29) and <em>fusae<\/em> (II, 30). Next, the author turns to polyphonic composition. Over twenty chapters exhaustively present the possibilities for voice entries and combinations in paired imitations (II, 31\u201351). As the following chapter (II, 51) explains, these chunks of polyphonic music can then be joined together to form pieces.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a> Following an essay on how to organise keyboard lessons (II, 52), the work ends with brief tuning instructions for clavichord and vihuela.<\/p>\n<p>Despite its highly systematic structure, the text still retains a direct relationship to practice. Although Santa Mar\u00eda refers to ancient authorities such as Boethius, Augustine and Aristotle and equates the rules of counterpoint with laws of nature, all the notated examples constitute \u2018real music\u2019 rather than just abstract rules. They clearly comprise especially composed small units that form meaningful sections when played together and they conclude with <em>clausulae<\/em>. The lucidity of his presentation of how to arrange voice entries in paired imitations surpasses \u2018classical\u2019 compositional treatises such as those by Franchinus Gaffurius or Johannes Tinctoris, which barely touch upon these subjects. For those interested in Santa Mar\u00eda\u2019s thoughts on practising and teaching, several essay-like, reflective passages sketch the broad outlines of his didactic ideas (e.g. I, 5; I, 20; II, 31; II, 52).<\/p>\n<p>Santa Mar\u00eda\u2019s chief approach to improvising polyphony at the keyboard is to study pieces that were not originally intended primarily for keyboard and had been written down in choir-book or part-book format in mensural notation. Santa Mar\u00eda calls this music <em>canto<\/em> <em>de organo<\/em> in contrast to <em>canto llano<\/em>, the liturgical monophony written down in one style of chorale notation. He is also committed to this approach notation-wise. All examples are written in <em>partitura<\/em>, in which the individual voices are either not aligned vertically or only roughly, and strokes through all the systems only serve to separate the examples from one another \u2013 but not, for example, to indicate breve-length units (see Fig. 1).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Rabe-fig-1.png\" alt=\"\" width=\"568.4\" height=\"700\" class=\"aligncenter\" \/><br \/>\n<span class=\"caption-text\"><b>Fig. 1:<\/b> Santa Mar\u00eda, <em>Arte<\/em>, II, fol.\u00a073<sup>v<\/sup>. The four voices are not aligned vertically.<\/span><\/p>\n<figure><figcaption>Listen to the example (\u00a9\u00a0August\u00a0Valentin\u00a0Rabe):<\/figcaption><audio controls src=\"https:\/\/repo.mdw.ac.at\/projects\/datasets\/16c-harpsichord\/rabe-audio\/data\/Rabe-Klangbeispiel_1.mp3\"><\/audio><br \/>\n<\/figure>\n<p><\/p>\n<div id=\"3\">\n<h4>Reading &amp; Singing<\/h4>\n<\/div>\n<p>Santa Mar\u00eda\u2019s didactic concept revolves around the idea that composed, mensurally notated polyphony (<em>Canto de organo<\/em>) should be experienced in a variety of ways. These are reading, singing, writing and playing. As chapter I, 5 makes clear,<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a> each of the individual voices should be sung by oneself as well as with others \u2013 as in the performance situation suggested by the mensural notation in separate parts. Additionally, one should play individual voices and whole pieces \u2013 possibly partly or completely notated in tablature<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a> \u2013 on the instrument. During these activities, great attention should be paid to the compositional techniques used. Santa Mar\u00eda compares this method of analysis through music-making to reading the works of learned authors.<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a> Just as reading is a source of daily inspiration from which perfection springs for a man of letters, so the study of polyphonic works is essential for the keyboard player.<\/p>\n<p>Santa Mar\u00eda gives a more precise idea of what this means in terms of practising and teaching in the 21<sup>st<\/sup> chapter of the first volume. Here he gives \u2018brief hints\u2019 on \u2018how the beginner can quickly master any piece\u2019.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a> This includes the study of pieces that have been intabulated from mensural notation. He describes three activities:<\/p>\n<ul>\n<li>\n<p>Playing each note observing its correct value (\u2018ent\u00e9der todas las figuras, y dar a cada vna su entero valor\u2019) with an even pulse (\u2018ta\u00f1er a Compas\u2019).<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/p>\n<\/li>\n<li>\n<p>Singing each individual voice and appreciating its solmization (\u2018cantar cada boz por si, entendi\u00e9do la Solfa de rayz\u2019).<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/p>\n<\/li>\n<li>\n<p>Analysing and understanding all the consonances and dissonances in the polyphonic texture (\u2018entender todas las Consonancias y Dison\u00e1cias que lleuare la obra, assi las que fueren a duo, como los que fuere [sic!] a tres y a quatro\u2019).<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/p>\n<\/li>\n<\/ul>\n<p>First, rhythm and tempo are clarified \u2013 in terms of both individual note values and a constant tempo throughout the piece.<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a> The insistence upon rhythmic accuracy is particularly understandable when making music from mensural notation or <em>partitura<\/em> notation, in which the individual parts are only approximately organised rhythmically in relation to each other, if at all (see Fig.\u00a01). However, the precise playing of rhythms and notated pitches on the instrument only constitute one aspect. Alongside this rather \u2018technical\u2019 step, the student has to \u2018interpret\u2019 the melody \u2013 not, however, by playing it on the keyboard instrument, but by singing each individual voice with solmization syllables. Solmization is important because, first, it clarifies the relationships of the individual pitches to each other, and, second, it reveals the relationship between what is sung and the modal system, which Santa Mar\u00eda illustrates, for example, with diagrams of the <em>scala decemlinealis<\/em> and the Guidonian hand.<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a> Additionally solmization facilitates the identification of the contrapuntal possibilities, such as the intervals that can be formed, when to apply <em>musica ficta<\/em>, when to avoid <em>mi contra fa<\/em>, or how and where imitative voices can enter. While solmization initially only refers to the individual voice, it later offers an analytical view of the whole contrapuntal structure, which should also be analysed and understood by those who wish to \u2018master\u2019 a work.<\/p>\n<p>Above all, this kind of analytical approach allows the player to transfer findings from the study of <em>obras<\/em> (polyphonic works that may or may not be intabulated) to their own polyphonic fantasias. The nature of the subjects (<em>passos<\/em>) and imitations in notated compositions should first be analysed in detail.<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a> This includes, for example, determining how many voices follow each other, what the rhythmic distance between them is, and the intervals at which they enter. Particular attention should be paid to how the voices enter. Whether they begin before, during or after a <em>clausula<\/em> or cadence, for instance, demonstrates \u2018the thing most exquisite, and of the greatest beauty and artistry of anything in music\u2019.<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a> Thus, one should consider and memorize the type and nature of the <em>clausulae<\/em> and cadences of the pieces analysed for use in one\u2019s own playing.<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a> Last but not least, the consonances and dissonances between all the voices and the solmization of each voice should be carefully studied and memorised so that they can be applied to one&#8217;s own playing in order to lend it \u2018richness and abundance\u2019.<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/p>\n<div id=\"4\">\n<h4>Memorising, Writing &amp; Playing<\/h4>\n<\/div>\n<p>This \u2018polyphonic-literary\u2019 education and engagement with mensurally notated composition form the backbone of Santa Mar\u00eda\u2019s didactic approach. Some further indications of historical practising and teaching techniques can be found in the penultimate 52<sup>nd<\/sup> chapter of the second volume. Conceived as a two-page enumeration of twelve elements, the author reviews almost all the topics covered in the treatise, assigning each a position in the arduous learning journey of a student and their teacher. Even though some of the elements are explicitly formulated as successive learning steps, it should be clear that most of them are processes that take place over several years and that although the scheme is articulated as a sequence, it will necessarily involve some overlapping and deviations. In some of the elements, however, Santa Mar\u00eda provides additional information that complements the content of the first volume \u2013 particularly focussing on the role of memory and the use of pre-existing compositions when practising the art of fantasia.<\/p>\n<p>Santa Mar\u00eda requires the student to write down the material covered in the lesson with the teacher \u2013 note for note and including all ornaments, and to sing all the individual parts:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">Fourth let the pupil endeavor, after having received the lesson and having studied it well, to put it into notation just as the teacher gave it to him, with the glosas and everything else, and with nothing omitted. Also let him endeavor to sing each of the four voices individually.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/p>\n<\/blockquote>\n<p>The \u2018lesson\u2019 probably refers to sections of the piece that was worked out together, rather than pre-existing written-out compositions. What had been worked out had to be memorised accurately during the lesson so it could be written down at leisure later. Writing what is played down adds another crucial step in the learning process, which in itself presents a set of completely different challenges in terms of learning psychology. Phrases that a player has \u2013 perhaps unconsciously \u2013 \u2018in his ear\u2019 or \u2018in his fingers\u2019 now have to be arranged on paper and synchronised with staves, clefs and the other voices. This requires a detailed awareness of the architecture of the extemporised piece, as well as an examination of the rules not only of notation, but also of counterpoint and composition. As written pieces, the \u2018lessons\u2019 become <em>obras<\/em>, which can now be sung, practised, analysed and compared with other <em>obras.<\/em><\/p>\n<p>Santa Mar\u00eda recommends students practise transposing complete pieces to all the degrees that the modal system allows and memorising their most imaginative passages in order to utilise them in their own fantasy-playing.<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a> Another way to use <em>obras<\/em> creatively is to extract any single voice of the polyphony and place it first in the discant, then in the other voices, and harmonising it homophonically \u2018with consonances\u2019 (<em>a consonancias<\/em>).<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a> Freer and correspondingly more demanding possibilities arise in contrapuntal playing over a chorale cantus-firmus or single voices of polyphonic compositions.<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a> These various types of playing serve to perfect what Santa Mar\u00eda calls the <em>fantasia a concierto<\/em>, i.e the art of extemporising imitative polyphony.<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/p>\n<div id=\"5\">\n<h4>A Model for Practising in Stages and Suggestions for Practising and Teaching Today<\/h4>\n<\/div>\n<p>One of the most valuable chapters on practising is the 22nd of the first volume. This deals with the way <em>obras<\/em> may be experienced in a way that improves the player\u2019s ability to produce a <em>fantasia a concierto.<\/em> The chapter is designed as a compilation of various exercises, from which a systematic model can be derived to enable effective practising today:<\/p>\n<ol>\n<li>Analyse subjects, imitations, <em>clausulae<\/em> and counterpoint in a pre-existing composition. Memorise the subjects and any particularly notable passages.<\/li>\n<li>Try out and vary different possibilities with these memorised subjects: the number of voices, the way in which they follow each other, the intervals and pitches at which the voices enter, <em>clausulae<\/em>, the use of consonance and dissonance.<\/li>\n<li>Vary the pitches you start from.<\/li>\n<li>Increase your repertoire of subjects.<\/li>\n<\/ol>\n<p>Rather than a sequence to be completed consecutively, these exercises are inherently significant in themselves and can be undertaken concurrently. One need not even start with a complete piece, but an excerpt or even a fragment the learner has heard. Exercises such as silently analysing compositions, singing or mentally practising memorised excerpts without an instrument are also included in the spectrum of tasks described by Santa Mar\u00eda.<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/p>\n<p>In Santa Mar\u00eda\u2019s conception, practising could eventually be imagined as an endless spiral: mensurally notated <em>obras<\/em> are read, played alone and together with others, possibly intabulated and then analysed. Passages are memorised, practised on the instrument, transposed, varied in terms of their contrapuntal possibilities, and reassembled in the student\u2019s own pieces. These new pieces can then in their turn be treated as <em>obras<\/em>, analysed and compared with other <em>obras.<\/em><\/p>\n<p>Santa Mar\u00eda recommends focusing on a few subjects and practising them thoroughly:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">In order for beginners to progress the fantasy, they must practice repeatedly with the subjects (<em>passos<\/em>) they know, so that through usage art is made a habit, and thereby they will easily [be able to] play other subjects.<a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/p>\n<\/blockquote>\n<p>In modern terms, the main goal of such practice is for playing to become habitual,<a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a> with motoric patterns or chunks of motoric patterns that can be performed automatically \u2013 and thus demand little cognitive effort. At the same time, instrumental-musical expertise is also shown in the flexibility of the motor skills that the player has at his\/her disposal (e.g. regarding fingering, keys, distribution of voices to the hands) to craft segments of musical meaning sonically: \u2018skilled pianists can associate the same pitch-key pattern with any number of motoric patterns\u2019.<a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a> Practising such chunks of musical meaning takes place at several levels, that can be grouped into two main areas:<\/p>\n<ol type=\"a\">\n<li>\n<p>Learning to recognise their acoustic and graphic appearance in the notation, and consolidating this through reading, memorising and writing; and<\/p>\n<\/li>\n<li>\n<p>gaining motoric control over chunks of motoric patterns in the vocal, speech and movement apparatuses of the body through singing and playing.<\/p>\n<\/li>\n<\/ol>\n<p>Santa Mar\u00eda explicitly and separately recommends these interdependent processes for practice as they run in parallel. Such an approach clearly differs from the instrumental training practice still prevalent at many conservatoires, where \u2018purely technical\u2019 practice, strongly focussed on motor components, aims primarily at performing pieces perfectly. In this respect, the kind of practising that Santa Mar\u00eda proposes could also be described as multimodal and multi-perspectival. As a result, the learning goals that practice aims to achieve are open and varied, although the various strands flow together in the <em>fantasia a concierto.<\/em> Nevertheless, there is no way to avoid spending years studying the instrument \u2013 then as now.<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">So that all the foregoing may be fruitful and beneficial in the fantasia, one must practice it many times each day with great perseverance, never losing confidence but holding to the certainty that continual work and practice will prevail in all things and make the master, as experience shows us at every step. And therefore a wise man has said that the stone is not carved out by the water drop that falls one time or two, but continuously.<a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a>\n<\/p>\n<\/blockquote>\n<h4>Endnotes<\/h4>\n<aside id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>Otto Kinkeldey, <em>Orgel und Klavier in der Musik des 16. Jahrhunderts. Ein Beitrag zur Geschichte der Instrumentalmusik<\/em> (Leipzig, 1910), 47\u201354. In a 2016 essay, Bernadette Nelson examines Juan Bermudo\u2019s <em>Declaraci\u00f3n de instrumentos musicales<\/em> (Ossuna: Juan de L\u00e9on, 1555) as a testimony of teaching methods for keyboard players. She investigates, what repertoire was available to Bermudo in the form of printed collections and how polyphony in mensural notation was intabulated and rearranged for keyboard performance. Bernadette Nelson, \u2018Bermudo\u2019s Masters and Models of Excellence for Keyboard Players in Sixteenth-Century Spain\u2019, in <em>RdM<\/em> 39 (2016), 77\u2013115.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>This is documented, for example, by the symposium on historically informed music teaching at the Schola Cantorum Basiliensis 2019. &lt;<a href=\"https:\/\/www.fhnw.ch\/de\/forschung-und-dienstleistungen\/musik\/schola-cantorum-basiliensis\/symposien-und-studientage\/symposium-modern-music-master\">https:\/\/www.fhnw.ch\/de\/forschung-und-dienstleistungen\/musik\/schola-cantorum-basiliensis\/symposien-und-studientage\/symposium-modern-music-master<\/a>&gt; (accessed 8 August 2022).<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>The limited information available \u2013 mainly from German-speaking sources \u2013 is compiled in August Valentin Rabe, \u2018<em>Benutze nun die Tafeln selbst<\/em>\u2019<em>. Sammeln, Schreiben, Lehren und \u00dcben mit einem Fundamentum (ca.\u00a01440\u20131550)<\/em>, Wiener Forum f\u00fcr \u00e4ltere Musikgeschichte 14 (Vienna, [2024]).<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Tom\u00e1s de Santa Mar\u00eda, <em>Libro llamado arte de ta\u00f1er fantas\u00eda. Primera parte<\/em> (Valladolid: Francisco Fernandez de Cordova, 1565). A facsimile of the source (E-Mn, M\/15088) is available online at &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000158382&amp;page=1\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000158382&amp;page=1<\/a>&gt; (accessed 14 July 2022). A complete English translation appeared in 1991: <em>Tom\u00e1s de Santa Maria, The art of playing the fantasia<\/em>, ed. Almonte C. Howell and Warren E. Hultberg, 2\u00a0vols. (Pittsburgh, 1991). The effort is unfortunately diminished by a lack of commentary on the translators\u2019 decisions, a lack of subject index, and the occasionally illegibility of the handwritten transcriptions of the numerous musical examples. Another translation of vol.\u00a0I, chapters 13\u201319 of the first volume by Sion M. Honea is available from the University of Central Oklahoma\u2019s <em>Historical Translation Series<\/em>. &lt;<a href=\"https:\/\/www.uco.edu\/cfad\/files\/music\/sancta-maria-libro.pdf\">https:\/\/www.uco.edu\/cfad\/files\/music\/sancta-maria-libro.pdf<\/a>&gt; (accessed 8 September 2022).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>A facsimile and translation of the contract can be found in Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, I, xlvi\u2013liv. Sixteen surviving copies are known, for a list, see ibid., II, 41\u20136.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, I, vii.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>See for example the relevant sections in the articles \u2018Fingering\u2019 (Mark Lindley) and \u2018Ornaments\u2019 (Louis Jambou) in <em>Grove Music Online<\/em> &lt;<a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40049\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40049<\/a>&gt;, &lt;<a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.49928\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.49928<\/a>&gt; (accessed 8 September 2022). The \u2018ta\u00f1er a consonancias\u2019 is treated in Miguel A. Roig-Francol\u00ed, \u2018Playing in Consonances: A Spanish Renaissance Technique of Chordal Improvisation\u2019, in: <em>EM<\/em> 23 (1995), 461\u201371. See also the video \u2018Consonances According to Tom\u00e1s de Santa Mar\u00eda\u2019 on the <em>Early Music Sources<\/em> website &lt;<a href=\"https:\/\/www.earlymusicsources.com\/youtube\/consonances\">https:\/\/www.earlymusicsources.com\/youtube\/consonances<\/a>&gt; (accessed 8 September 2022).<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>For the first steps in this direction see the contribution by Maria Luisa Baldassari with Augusta Campagne in this volume.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>In the 1565 print, vol.\u00a0I, ch.\u00a0\u201818\u2019 is followed by two chapters erroneously numbered \u20189\u2019 and \u201819\u2019. In the translation, both chapters were headed \u201819\u2019. For the sake of clarification, I refer to the \u2018first\u2019 of the two chapters as \u201819a\u2019 and the \u2018second\u2019 as \u201819b\u2019.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>By using the term \u2018chunk\u2019, I refer to a concept that is well established in cognitive psychology and related disciplines. As humans, to make sense of the \u2018continuous changing multimodal stream of information\u2019 we are confronted with and to \u2018act effectively in the world\u2019, we need to reduce the stream of information to \u2018useful chunks\u2019. See Barbara Tversky and Jeffrey M. Zacks, \u2018Event Perception\u2019, in: <em>The Oxford Handbook of Cognitive Psychology<\/em>, ed. Daniel Reisberg (Oxford, 2013), 83\u201394, see p.\u00a083 for the quotations.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>The title of the chapter is: \u2018Concerning two instructions by which one may [master] the singing of polyphony in a minimum of time\u2019 (\u2018De dos documentos para en breue tiempo cantar canto de Organo\u2019).<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Juan Bermudo describes a spectrum of three ways (\u2018maneras\u2019): Particularly skilled players who can sing well and know how to compose (\u2018si es buen cantor, que sabe de composicion\u2019) are able to play directly from the choir-book Those who cannot compose, are less skilled, or do not want to work so hard (\u2018de composicion no sabe, y no esta execitado en poner, sino que comienca o no quiere trabaxar tanto\u2019) must first mark in \u2018bar lines\u2019 (\u2018virgular el canto de organo\u2019). The third way is to write down the piece in tablature and play it from that. See Juan Bermudo, <em>Declaraci\u00f3n de instrumentos musicales<\/em> (Ossuna: Juan de L\u00e9on, 1555), fol.\u00a0132<sup>v<\/sup>. For a translation of the full passage into English, see Jessie Ann Owens, <em>Composers at Work. The Craft of Musical Composition 1450\u20131600<\/em> (Oxford, 1997), 50.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>\u2018In the same way that it is appropriate and essential that a man of letters, if he is to be consummate in his discipline, should read widely in the learned authors in order to grow each day in the knowledge of new things, so it is important and necessary that the performer, to be perfect in his profession, should perform polyphonic works from chosen masters, to enrich himself each day in the learning of new and excellent materials\u2019, Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, I, 19; \u2018por que assi como a vn letrado para ser acabado en su faculdad, le conuiene y es necessario leer muchos doctores para cada dia medrary saber cosas nueuas, assi al ta\u00f1edor le es import\u00e1te y necessario para ser perfecto en esta faculdad que professa poner obras de c\u00e1to de Organo, de escogidos autores, para cada dia yrse enriquesiendo, sabiendo cosas nueuas y primas\u2019, Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a07<sup>r\u2013v<\/sup>. The term \u2018poner\u2019 was at times misinterpreted as \u2018writing tablature\u2019 in the musicological literature of the 1960s and 1970s. See the discussion in Owens, <em>Composers at Work<\/em>, 51\u20132. Without going into the translations by Kinkeldey, Howell and Hultberg or the detailed clarification by Owens, Nelson apparently also understands \u2018poner\u2019 primarily as \u2018scoring-up and intabulating [\u2026] music\u2019: see Nelson, \u2018Bermudo\u2019s Masters and Models\u2019 (see n.\u00a01), 77, and 99\u2013101.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>\u2018De auisos breues para que los nueuos subieten presto qualquier obra\u2019\u00a0: Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a057<sup>v<\/sup>.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a057<sup>v<\/sup>. On this aspect, see also vol.\u00a01, ch.\u00a05 \u2018Del compas\u2019.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a057<sup>v<\/sup>. Almonte Howell and Warren Hultberg translate \u2018entendi\u00e9do la Solfa de rayz\u2019 as \u2018achieve a fundamental comprehension of its melodic line\u2019: Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, I, 154.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a057<sup>v<\/sup>.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Vol.\u00a0I, ch.\u00a020 focuses on this aspect, using various examples to illustrate the ways of counting and feeling the beat. Santa Mar\u00eda does not provide a detailed introduction to reading mensural notation, as printed works on instrumental music of the time often do.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>The assignment of the instrumental keyboard to the <em>scala decemlinealis<\/em>, which is the subject of vol.\u00a0I, ch.\u00a020, is a standard theme in manuscripts and printed texts on instrumental music in the 16th century. See also the illustration in Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a056<sup>r<\/sup>, as well as similar tables and charts in CH-Bu, F I 8a, CH-Bu, F IX 22, or Sebastian Virdung, <em>Musica getutscht und ausgezogen<\/em>, [Basel]: [Michael Furter] [1511] (vdm: 3), &lt;<a href=\"http:\/\/resolver.staatsbibliothek-berlin.de\/SBB0001444100000000\">http:\/\/resolver.staatsbibliothek-berlin.de\/SBB0001444100000000<\/a>&gt; (accessed 28 September 2022).<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>See ch.\u00a0I, 22 entitled \u2018Concerning the procedure one must follow to derive benefit from works\u2019 (\u2018Del modo que se ha detener para sacar prouecho de las obras\u2019).<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, I, 155. \u2018[\u2026] la entrada de cada boz, es la cosa mas dilicada, y de mayor primor y arte que ay en la Musica [\u2026]\u2019, Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a057<sup>v<\/sup>.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>\u2018[\u2026] notar todas las maneras de clausulas, que fe hizieren en las obras entendiendo las de rayz, y tenerlas en la memoria, para por ellas hazer otras Semejantes en la fantasia.\u2019 Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a057<sup>v<\/sup>.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, I, 156. \u2018[\u2026] y juntamente entender toda la Solfa de cada boz, y notar las c\u00f3sonancias que con ella se dier\u00e9, y assi mesmo notar la Solfa que fuere graciosa de cada boz, y tenerla mucho en la memoria, para c\u00f3 ella hazer passos diuersos, porque esto es lo que mucho aprouecha para tener caudal y abundancia de fantasia.\u2019 Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a058<sup>r<\/sup>.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>\u2018Lo quarto procure el discipulo, despues de aver tomado la lecion y tenerla bien estudiada, sacarla en punto de la mesma manera que el maestro se la diere, con las glosas y con todo lo de mas, sin faltar ninguna cosa. Assi mesmo procure, cantar cada vna de las quatro vozes en particular.\u2019 Santa Mar\u00eda, <em>Arte<\/em>, II, fol.\u00a0121<sup>v<\/sup>. My translation of this passage is based on Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, II, 390. The translation of \u2018sacar en punto\u2019 as \u2018to put it into notation\u2019, which may seem surprising at first sight, has been generally accepted in research since Kinkeldey. \u2018Punto\u2019 is used in contemporaneous musical writing (besides Santa Mar\u00edas <em>Arte<\/em>, for example, in Juan Bermudo\u2019s <em>Declaraci\u00f3n<\/em> or Ortiz\u2019s <em>Trattado<\/em>) to mean \u2018note\u2019. However, the term can also mean larger sections of music, as the title of Ortiz\u2019s print of 1553 makes clear: <em>Trattado de Glosas sobre Clausulas y otras generos de puntos en la Musica de Violones<\/em> [\u2026]. I would like to thank Andr\u00e9s Cea Gal\u00e1n, Marija Bla\u0161kovi\u0107, Wolfram Aichinger and Fernando Sanz-L\u00e1zaro for their help and exchange on questions of translation.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>\u2018Lo nono procure exercitarse, en mudar las obras por todos los signos acidentales que se pudieren ta\u00f1er, y assi mesmo procure tomar dellas, los passos que fueren de solfa graciosa, y tenerlos en la memoria para despues ta\u00f1er sobre ellos fantasia a concierto.\u2019 Santa Mar\u00eda, <em>Arte<\/em>, II, fol.\u00a0121<sup>v<\/sup>.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>For \u2018playing in consonances\u2019 see n.\u00a07.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>\u2018El que quisiere ser perfecto ta\u00f1edor, procure darse y exercitarse poco a poco, en ta\u00f1er contrapunto que sea de buen ayre y solfa graciosa, sobre canto llano, y sobre todo de organo [\u2026].\u2019 Santa Mar\u00eda, <em>Arte<\/em>, II, fol.\u00a0122<sup>r<\/sup>.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Santa Mar\u00eda uses the term \u2018a concierto\u2019 several times in his treatise as a synonym for \u2018polyphonic\u2019. See the references in the entry \u2018concierto (a)\u2019, in: <em>Lexique Musical de la Renaissance \u2013 Trait\u00e9s musicaux en espagnol<\/em>, &lt;<a href=\"http:\/\/www.ums3323.paris-sorbonne.fr\/LMR\/index.phphttp:\/www.ums3323.paris-sorbonne.fr\/LMR\/index.php\">http:\/\/www.ums3323.paris-sorbonne.fr\/LMR\/index.php<\/a>&gt; (accessed 28 September 2022); see also Warren Earle Hultberg, \u2018Sancta Maria\u2019s <em>Libro llamado Arte de<\/em> <em>ta\u00f1er Fantasia<\/em>: A Critical Evaluation\u2019, PhD thesis, University of Southern California, Los Angeles, 1964, 95\u20136, 205.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>On these practice techniques, see Ulrich Mahlert (ed.), <em>Handbuch \u00dcben. Grundlagen, Konzepte, Methoden<\/em> (Wiesbaden, 2006).<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, I, 156. \u2018Para que los nueuos aprouechen en la fantasia, es necessario que se exerciten siempre con los mesmos passos que saben, para que con este vso hagan habito del arte, y con esto facilmente ta\u00f1eran otros passos.\u2019 Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a058<sup>r<\/sup>.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>Jonathan de Souza explores habitual playing and the close coupling between musician and instrument in great detail drawing on philosophical perspectives as well as ecological theory and cognitive psychology. See his <em>Music at Hand. Instruments, Bodies, and Cognition<\/em>, Oxford Studies in Music Theory 11 (New York, 2017).<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>Ibid., 20.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>Santa Mar\u00eda\/Howell\/Hultberg, <em>The art<\/em>, I, 156. \u2018Para que de todo lo sobredicho se saque gran fruto y prouecho para la fantasia, es necessario exercitarlo muchas vezes cada dia, con gran perseuerancia, nunca desconsiando, sino teniendo por cierto, que el trabajo y vso continuado, vence todas las cosas, y haze maestro, lo qual a cada passo vemos por experiencia, y por tanto, dixo vn sabio. Que la gota caua la piedra, no de vna vez, ni de dos, sino siempre cayendo.\u2019 Santa Mar\u00eda, <em>Arte<\/em>, I, fol.\u00a058<sup>r<\/sup>.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<\/aside>\n<div id=\"6\">\n<h4>Bibliography<\/h4>\n<\/div>\n<p><\/p>\n<p class=\"bibliography\">Art. \u2018concierto (a)\u2019, in: <em>Lexique Musical de la Renaissance \u2013 Trait\u00e9s musicaux en espagnol<\/em>, &lt;<a href=\"http:\/\/www.ums3323.paris-sorbonne.fr\/LMR\/index.php\">http:\/\/www.ums3323.paris-sorbonne.fr\/LMR\/index.php<\/a>&gt;<\/p>\n<p class=\"bibliography\">Warren Earle Hultberg, \u2018Sancta Maria\u2019s <em>Libro llamado Arte de ta\u00f1er Fantasia<\/em>: A Critical Evaluation\u2019, PhD thesis, University of Southern California, Los Angeles, 1964<\/p>\n<p class=\"bibliography\">Louis Jambou, \u2018Ornaments\u2019, in: <em>Grove Music Online<\/em>, &lt;<a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.49928\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.49928<\/a>&gt;<\/p>\n<p class=\"bibliography\">Otto Kinkeldey, <em>Orgel und Klavier in der Musik des 16. Jahrhunderts. Ein Beitrag zur Geschichte der Instrumentalmusik<\/em> (Leipzig, 1910)<\/p>\n<p class=\"bibliography\">Mark Lindley, \u2018Fingering\u2019, in: <em>Grove Music Online<\/em>, &lt;<a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40049\">https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40049<\/a>&gt;<\/p>\n<p class=\"bibliography\">Ulrich Mahlert (ed.), <em>Handbuch \u00dcben. Grundlagen, Konzepte, Methoden<\/em> (Wiesbaden, 2006)<\/p>\n<p class=\"bibliography\">Bernadette Nelson, \u2018Bermudo\u2019s Masters and Models of Excellence for Keyboard Players in Sixteenth-Century Spain\u2019, in <em>RdM<\/em> 39, no. 1 (2016), 77\u2013115<\/p>\n<p class=\"bibliography\">Diego Ortiz, <em>Trattado de Glosas sobre Clausulas y otras generos de puntos en la Musica de Violones<\/em> [\u2026] (Rome: Valerio &#038; Luigi Dorico, 1553)<\/p>\n<p class=\"bibliography\">Jessie Ann Owens, <em>Composers at Work: The Craft of Musical Composition 1450\u20131600<\/em> (New York, 1997)<\/p>\n<p class=\"bibliography\">August Valentin Rabe, \u2018<em>Benutze nun die Tafeln selbst<\/em>\u2019<em>. Sammeln, Schreiben, Lehren und \u00dcben mit einem Fundamentum (ca. 1440\u20131550)<\/em>, Wiener Forum f\u00fcr \u00e4ltere Musikgeschichte 14 (Vienna, 2024)<\/p>\n<p class=\"bibliography\">Miguel A. Roig-Francol\u00ed, \u2018Playing in Consonances: A Spanish Renaissance Technique of Chordal Improvisation\u2019, in: <em>EM<\/em> 23 (1995), 461\u201371<\/p>\n<p class=\"bibliography\">Elam Rotem, \u2018Consonances According to Tom\u00e1s de Santa Mar\u00eda\u2019, in: <em>Early Music Sources.com<\/em>, <em>&lt;<\/em><a href=\"https:\/\/www.earlymusicsources.com\/youtube\/consonances\">https:\/\/www.earlymusicsources.com\/youtube\/consonances<\/a><em>&gt;<\/em> (accessed 25 July 2023)<\/p>\n<p class=\"bibliography\"><em>Thomas de Sancta Maria. Libro Llamado Arte de Ta\u00f1er (1565) Chapters 13-19<\/em>, translated by Sion M. Honea, Historical Translation Series, &lt;<a href=\"https:\/\/www.uco.edu\/cfad\/files\/music\/sancta-maria-libro.pdf\">https:\/\/www.uco.edu\/cfad\/files\/music\/sancta-maria-libro.pdf<\/a>&gt;<\/p>\n<p class=\"bibliography\">Tom\u00e1s de Santa Mar\u00eda, <em>Libro llamado arte de ta\u00f1er fantas\u00eda<\/em> (Valladolid: Francisco Fernandez de Cordova, 1565), &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000158382&amp;page=1\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000158382&amp;page=1<\/a>&gt;<\/p>\n<p class=\"bibliography\"><em>Tom\u00e1s de Santa Maria, The art of playing the fantasia<\/em>, ed. Almonte C. Howell and Warren E. Hultberg, 2 vols. (Pittsburgh, 1991)<\/p>\n<p class=\"bibliography\">Jonathan de Souza, <em>Music at Hand. Instruments, Bodies, and Cognition<\/em>, Oxford Studies in Music Theory 11 (New York, 2017)<\/p>\n<p class=\"bibliography\">Barbara Tversky and Jeffrey M. Zacks, \u2018Event Perception\u2019, in <em>The Oxford Handbook of Cognitive Psychology<\/em>, ed. Daniel Reisberg (Oxford, 2013), 83\u201394<\/p>\n<p class=\"bibliography\">Sebastian Virdung, <em>Musica getutscht und ausgezogen<\/em>, [Basel]: [Michael Furter] [1511] (vdm: 3), &lt;<a href=\"http:\/\/resolver.staatsbibliothek-berlin.de\/SBB0001444100000000\">http:\/\/resolver.staatsbibliothek-berlin.de\/SBB0001444100000000<\/a>&gt;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Practising with Tom\u00e1s de Santa Mar\u00eda August Valentin Rabe The Most Important Source for Practising in the Sixteenth Century How did people practise at the keyboard instrument in the 16th century and how might attempting to answer this question help us with practising and teaching today? As neither historical musicology nor music pedagogy has yet &hellip;<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[114],"tags":[],"class_list":["post-2770","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Singing, Reading, Writing, Playing &#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\/en\/mdwp03-singing-reading\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Singing, Reading, Writing, Playing &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Practising with Tom\u00e1s de Santa Mar\u00eda August Valentin Rabe The Most Important Source for Practising in the Sixteenth Century How did people practise at the keyboard instrument in the 16th century and how might attempting to answer this question help us with practising and teaching today? 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