{"id":2836,"date":"2024-06-04T12:07:06","date_gmt":"2024-06-04T10:07:06","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=2836"},"modified":"2025-02-10T13:20:54","modified_gmt":"2025-02-10T12:20:54","slug":"mdwp003-ornamentation-note-values","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-ornamentation-note-values\/","title":{"rendered":"\u2018Nach seinem selbst gefallen mit der Mensur wexln\u2019"},"content":{"rendered":"<h2 class=\"subtitle\">Instances in Sixteenth-Century Keyboard Music Where Ornamentation and Changing Note Values Might Induce the Player to Vary the Beat<\/h2>\n<h3 class=\"author\"><em>Domen Marin\u010di\u010d<\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        blockquote.tsquotation p em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\n        figure {\n            margin: 0;\n        }\n        audio {\n            margin-top: 0.5em;\n        }\n    <\/style>\n<p><\/head><br \/>\n<\/p>\n<p style=\"text-align: left;\"><div class=\"one_half\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp03-singing-reading\" 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-performance-practice-antico\" style=\"color:#000000 !important;\">Next chapter<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><div class=\"toggle-content\"><p>\n<div id=\"zotpress-0eb20082e6efdee378dfbfab731975cd\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span class=\"ZP_API_USER_ID ZP_ATTR\">4511395<\/span>\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\">{4511395:CIZWBM6T}<\/span>\n\t\t<span class=\"ZP_COLLECTION_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TAG_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_AUTHOR ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_YEAR ZP_ATTR\"><\/span>\n        <span class=\"ZP_ITEMTYPE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_INCLUSIVE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_STYLE ZP_ATTR\">chicago-author-date<\/span>\n\t\t<span class=\"ZP_LIMIT ZP_ATTR\">50<\/span>\n\t\t<span class=\"ZP_SORTBY ZP_ATTR\">default<\/span>\n\t\t<span class=\"ZP_ORDER ZP_ATTR\"><\/span>\n\t\t<span 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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%22CIZWBM6T%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Marin%5Cu010di%5Cu010d%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%3BMarin%26%23x10D%3Bi%26%23x10D%3B%2C%20Domen.%202024.%20%26%23x201C%3B%26%23x2018%3BNach%20Seinem%20Selbst%20Gefallen%20Mit%20Der%20Mensur%20Wexln%26%23x2019%3B%3A%20Instances%20in%20Sixteenth-Century%20Keyboard%20Music%20Where%20Ornamentation%20and%20Changing%20Note%20Values%20Might%20Induce%20the%20Player%20to%20Vary%20the%20Beat.%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-06%26%23039%3B%26gt%3Bhttps%3A%5C%2F%5C%2Fdx.doi.org%5C%2F10.21939%5C%2Fharpsichord-16c-06%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%3DCIZWBM6T%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%22%5Cu2018Nach%20seinem%20selbst%20gefallen%20mit%20der%20Mensur%20wexln%5Cu2019%3A%20Instances%20in%20Sixteenth-Century%20Keyboard%20Music%20Where%20Ornamentation%20and%20Changing%20Note%20Values%20Might%20Induce%20the%20Player%20to%20Vary%20the%20Beat%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Domen%22%2C%22lastName%22%3A%22Marin%5Cu010di%5Cu010d%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-06%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%3A42Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-2836-4511395-CIZWBM6T\" data-zp-author-date='Marin\u010di\u010d-2024' data-zp-date-author='2024-Marin\u010di\u010d' 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\">Marin\u010di\u010d, Domen. 2024. \u201c\u2018Nach Seinem Selbst Gefallen Mit Der Mensur Wexln\u2019: Instances in Sixteenth-Century Keyboard Music Where Ornamentation and Changing Note Values Might Induce the Player to Vary the Beat.\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-06'>https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-06<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=CIZWBM6T' 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>\nNicola Vicentino\u2019s description of singers varying the beat in order to clarify the affect of the words and the harmony may seem to be relevant to certain keyboard music, all the more since sources point out that solo performers enjoy greater freedom than do ensembles. Tempo changes sometimes seem to be implied by striking differences between predominant note values in sections of a piece. One might expect shorter note values to be generally associated with a slower <em>tactus<\/em>, and longer note values with a quicker one, but some composers demand the opposite, so that the contrasts in the music are amplified rather than understated. Ornamented keyboard intabulations can occasionally be seen to imply textually and musically motivated tempo changes via noticeable variation in the density of ornamentation.<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>Domen Marinc\u030cic\u030c<\/strong> studied viola da gamba, harpsichord, and thorough bass in Nuremberg and Trossingen. He has performed extensively throughout Europe, in Canada, USA, China, Korea, and Vietnam, participating in more than 40 CD recordings for well-known labels. In 2021 he was appointed professor of historical performance practice at the Hochschule fu\u0308r Musik und Theater Hamburg.<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\">Note Values and Tempo<\/a><br \/>\n<a href=\"#2\">Variable Note Values<\/a><br \/>\n<a href=\"#3\">Taking Additional Time for Ornamentation<\/a><br \/>\n<a href=\"#4\">Tempo and the Density of Ornamentation<\/a><br \/>\n<a href=\"#5\">Conclusion<\/a><br \/>\n<a href=\"#6\">Appendix 1<\/a><br \/>\n<a href=\"#7\">Appendix 2<\/a><br \/>\n<a href=\"#8\">Appendix 3<\/a><br \/>\n<a href=\"#9\">Appendix 4a<\/a><br \/>\n<a href=\"#10\">Appendix 4b<\/a><br \/>\n<a href=\"#11\">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\/b1e081ec-ab4e-4970-9a7e-352793638f36\" target=\"_blank\" rel=\"nofollow\" style=\"color:#000000 !important;\">Chapter PDF<\/a><\/span>\n<p>Several sources from the second half of the 16th century mention changing the measure or varying the beat within pieces. One of the best known is Nicola Vicentino\u2019s book of 1555 with its reference to vocal ensembles changing the measure when performing music in the vernacular.<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> Here and elsewhere, we read about various things that would induce one to change the tempo, the most common being the affect, the sense of the words, and the harmony.<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> The wording of such descriptions sometimes implies an association with rhetoric, and Vicentino draws an analogy with the orator who moves his listeners by speaking \u2018now loud and now soft, now slow and now fast\u2019.<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> While such changes helped to express the affect, they also met the need for variety, which is another important factor mentioned in connection with tempo changes by Vicentino, his Neapolitan contemporary Giovanthomaso Cimello, and several later authors.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> We must therefore bear in mind \u2013 and this is perhaps especially important in the case of instrumental music \u2013 that the beat could sometimes change within a piece purely in order to provide variety, notably in instances when musical material is repeated. It seems that the use of different note values and proportional signs alone was not considered sufficient for expressing affect and providing variety in performance. The speed of the <em>tactus<\/em> was perceived as an important parameter in its own right, operating together with the other components.<\/p>\n<p>The title of this article comes from a particularly intriguing text which mentions tempo flexibility in keyboard performance. Its author, Hanns Haiden, son of the music theorist Sebald Heyden, was organist at St.\u00a0Sebald and St.\u00a0Egidien in Nuremberg between 1567 and 1585. In 1575 he invented the <em>Geigenwerk<\/em>, a stringed keyboard instrument capable of sustained sound, graded dynamics and controlled vibrato. The passage in question appears in the second German edition of the <em>Musicale instrumentum reformatum<\/em>, a small book that he wrote in praise of this instrument, published in 1610, when he was in his mid-seventies. Among the advantages of the <em>Geigenwerk<\/em>, on which \u2018one alone can achieve that which would otherwise require five or six violin players\u2019, Haiden lists the possibility of varying the beat. He goes on to point out a telling difference vis-\u00e0-vis string consorts:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">Secondly, the player can change the measure as he pleases, guiding it now slowly, now again quickly, which is also required in order to move the affections. Several violinists together, however, do not do this simultaneously nor can they achieve such good ensemble.<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Haiden does not specify any particular repertoire in which he expects keyboard players to vary the beat. While this practice was considered necessary for expressing affect, he also seems to suggest that there can be other reasons for changing the measure, or that it can be an end in itself. Such changes do not appear to have been fixed or predetermined and were left to the performer\u2019s discretion.<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> Furthermore, solo performance is described as being more flexible than ensemble playing. Perhaps Haiden would also have desired more flexibility, or better ensemble, from string consorts? His explanation for a depiction of a triumphal chariot glorifying music, dated 1607, shows the <em>Mensur<\/em> to be the whip in the hands of the allegorical figure representing the faculty of hearing, which makes the horses run quickly or slowly. Other elements positioned around the coachman include a sharp mind, nature, affect, and variety.<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/p>\n<p>Michael Praetorius cites the first part of Haiden\u2019s statement in the chapter on the <em>Geigenwerk<\/em> in the second volume of his <em>Syntagma musicum<\/em>, replacing the remark concerning the limited flexibility of string ensembles with a recommendation that the practice of varying the measure \u2018can similarly be observed on other instruments\u2019.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a> This brings the suggestion outside the context of Haiden\u2019s argument and thus the reader wonders why Praetorius should associate tempo flexibility with this particular instrument and fails to mention it anywhere else in his book on organology.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a> At the same time, his comment does suggest that the practice of changing the tempo should perhaps be applied more widely in instrumental music.<\/p>\n<div id=\"1\">\n<h4>Note Values and Tempo<\/h4>\n<\/div>\n<p>It is likely that the tempo would often have changed between one section and another of a piece, where these differ as regards their predominant note values. Such differences often coincide with changes in text, harmony and affect, but their implications for the tempo are not always clear.<\/p>\n<p>The choice of tempo depends to some extent on the note values found in a piece, as well as on the types of rhythm and the levels at which they operate. Bartolomeo Ramos de Pareja explains in 1482 that if a piece has too many short notes, performers place the <em>mensura<\/em> on the semibreve or minim \u2013 although, in theory this should in fact be on the breve or semibreve.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a> Such a shift in the level of the <em>mensura<\/em> implies a slower tempo for the semibreve or minim. A similar type of shift occurred later in the case of the <em>note nere<\/em> madrigals that began to appear around 1540. The emergence of this new style opened the door for composers to vary the compositional <em>tactus<\/em>, meaning harmonic and contrapuntal rhythm, between longer and shorter units within a piece, providing a variety of rhythmic and connotative devices to meet the affective demands of the poetic text.<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/p>\n<p>Contrary to the principle of choosing a slower tempo when the music features many short notes, Luis Mil\u00e1n demands in 1536 that in certain of his fantasias for vihuela the performer should provide more contrast between the chords, which he notates in minims, and the runs, notated in quavers:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">And in order to play them with their natural style you need to direct yourself in the following way: all that might be in chords should be played with a slow beat and everything that is <em>redobles<\/em> [diminutions] should be played with a fast beat, and one should pause a little at each fermata.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/p>\n<\/blockquote>\n<p>This approach, which Mil\u00e1n limits to very specific pieces, exaggerates the contrast between slow and fast and can be used to amplify differences in affect. Unwritten changes of measure in vocal music could have produced a similar result. Vicentino complains about singers ruining a sad passage, where his comments would suggest a slower beat on account of the affect, by showing off their talent for embellishment. He also mentions that he has heard singers make the opposite mistake by failing to show off their talent when a composer prescribes a cheerful passage with diminutions, possibly singing such a passage too slowly.<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a> This implies that sad music will normally have longer note values and a slower beat, while cheerful music may feature lively diminutions in shorter note values and a faster beat.<\/p>\n<div id=\"2\">\n<h4>Variable Note Values<\/h4>\n<\/div>\n<p>In the chapter on the division of the <em>tactus<\/em> and its administration in his <em>Prattica di musica<\/em> of 1592, Lodovico Zacconi explains:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">Different <em>tactus<\/em> may be faster or slower, according to the place, time, and occasion, because this variety does not create any defect in music, as long as the one who gives the <em>tactus<\/em> knows how to contract and stretch it and make the above-mentioned rising and falling motions equal, and not altered.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/p>\n<\/blockquote>\n<p>On account of a common misunderstanding of the terms \u2018stringere\u2019 and \u2018allargare\u2019, which in this context refer to the falling and rising motion of the <em>tactus<\/em> in analogy to the systole and diastole of the human pulse,<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a> this passage has traditionally been interpreted in the scholarly literature as describing tempo changes, but it remains unclear whether Zacconi is referring to varying the beat within pieces. He writes that observing the common <em>tactus<\/em> is easy in itself, but that compositions with diminutions sometimes make it difficult for the time-beater to keep time. In the chapter on the <em>maestro di cappella<\/em>, he repeatedly criticises time-beaters who slow down the <em>tactus<\/em> because of the difficulty of the <em>figure<\/em> (i.e. written notes), endeavouring to make them easier for the singers. In his opinion, this turns one note value into another, disregarding the composer\u2019s intention:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">In order to be understood by all, so that this blameworthy abuse may be completely removed from the present state of affairs, and this error may be eliminated completely, I say that there are some administrators of <em>tactus<\/em> who, when directing it in some difficult songs where there is a great abundance of quavers, in order to enable the singers to count them better and with less difficulty, slow down the said <em>tactus<\/em> so much that they make them sing as crotchets, and do not perceive that if the composer who has composed them had wanted them to be sung as crotchets he would not have made them quavers. It is, however, good that they are recognised by the listeners as quavers like they have been made by the composer. [\u2026] The figures may well be sung differently, for the composer is obliged to compose them according to the order of the signs and rules of tempo which he uses, and the singer to sing them as he pleases; for who can claim that the semibreve which is commonly worth one <em>tactus<\/em> should not be sung for a breve or longa, giving a multiplied value to each? Or to diminish them by half and make them move twice as fast under the same <em>tactus<\/em>? But just as this manner of singing would be a caprice, an extravagant manner, not to say reckless, so also changing quavers into crotchets is not praiseworthy, for in every way that one can sing and turn them, the composer who composed them could have formed them in this way if he wanted.<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Notwithstanding such claims, there seem to have been occasional dilemmas regarding the choice of note values among composers and editors. A number of pieces have survived in more than one version, with one source showing halved or doubled note values in respect of the other. Sometimes such differences only affect a section of the piece, often the one with the shortest note values. At the end of a lute fantasia by Pietro Paolo Borrono published in 1546 and transcribed in Ex.\u00a01 the composer provides an alternative, <em>ossia<\/em> version of the five bars containing semiquavers, which are the fastest notes in the piece and occur very rarely in this repertoire. In an accompanying comment Borrono explains the reason for this:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">Since in the above fantasia there are some measures that learners may find difficult, I have written the same measures in a different and easier tempo, reducing the semiquavers into quavers, and the quavers into crotchets.<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/p>\n<\/blockquote>\n<p>It has been suggested that this represents only a different manner of notating the passage in question, but such an explanation seems questionable.<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a> Rather, one wonders how \u2018learners\u2019 understood this message and whether something similar may have applied elsewhere as part of performance pratice, even if it depended on the proficiency of the player.<\/p>\n<p>A similar intervention was undertaken in the revised edition of a collection of bicinia published by Pierre Phal\u00e8se. The thirteen textless bicinia by Orlando di Lasso had first been published more than thirty years earlier and had meanwhile also been issued by Phal\u00e8se in their original form in 1590. In Phal\u00e8se\u2019s new edition of 1609, all note values from the middle onwards were doubled in seven of the thirteen pieces.<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a> In their original form the pieces in question display a relatively wide range of note values, starting slowly in minims, accelerating during the course of the piece and ending with lively quaver movement. The revised versions are not without problems of musical consistency, but they achieve a steadier basic pace and a greater sense of unity, with much less contrast in note values. Since these are didactic pieces, the changes have possibly been introduced with beginners in mind. One wonders whether the beat would have varied in this type of music: a collection of bicinia published by Seth Calvisius in 1599 finishes with a set of rules for singing, among which we find the indication sometimes to accelerate and sometimes to slow down the <em>tactus<\/em> for reasons of harmony and text.<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Ex-1.png\" alt=\"\"\/><br \/>\n<span class=\"caption-text\"><strong>Ex.\u00a01:<\/strong> Pietro Paolo Borrono, <em>Fantesia dell\u2019eccellente P.P. Borrono da Milano<\/em>, bb.\u00a0165\u2013201.<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/span><\/p>\n<p>The opposite type of revision, one doubling the speed of a passage, is probably seen in the introductory section to one of the best known keyboard fantasias by William Byrd, as shown in Ex.\u00a02. The version in the <em>Fitzwilliam Virginal Book<\/em> changes the quaver runs in the last few bars into semiquavers. A scribal error is not plausible since the writing in both sources is neat and clean, and the rhythms all add up. The difference is perhaps indicative of the improvisatory nature of the flourishes. For the performer this can imply greater flexibility, or perhaps a non-proportional acceleration in relation to the quaver scales occurring earlier. On the other hand, semiquaver passages return later in the work, and one might speculate that this newly established correspondence reflects Byrd\u2019s later thoughts.<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a> The two versions may have been meant to sound different, since the version in semiquavers retains only one of the three ornament signs, but this does not eliminate the possibility of performers adjusting the tempo at the point where semiquavers start.<\/p>\n<p>Despite the differences found in these variants, all of them \u2013 Borrono, Lasso, and Byrd \u2013 can make musical sense when performed without noticeable tempo changes. They do, however, raise doubts about the reliability and definitive quality of musical notation. We might, after all, imagine a situation in which only the alternative versions of pieces such as Borrono\u2019s or Lasso\u2019s survive.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Ex-2.png\" alt=\"\"\/><br \/>\n<span class=\"caption-text\"><strong>Ex.\u00a02:<\/strong> William Byrd, Fantasia C2, BK25, bb.\u00a06\u201315. Comparison of versions in <em>My Ladye Nevells Booke<\/em> and <em>The Fitzwilliam Virginal Book<\/em>.<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/span><\/p>\n<p>A literal interpretation with a more or less steady, unchanging beat seems very improbable in two of Claudio Merulo\u2019s toccatas preserved in the so-called <em>Turin Tablature<\/em>. Copied between 1637 and 1640 and notated in \u2018new German organ tablature\u2019, these are believed to be primitive versions, perhaps from as early as 1567, of toccatas published in 1598 and 1604 respectively. The large collection in Turin contains both versions of these two toccatas, the earlier versions having been copied from an unknown source and the later ones from Merulo\u2019s printed books of toccatas. Besides many differences in the passagework, the first of these toccatas, no.\u00a018 in the manuscript and no.\u00a08 in the 1598 print (see Ex.\u00a03), evidences a revision that is suggestive of a tempo change between sections. The earlier version in Turin includes a short ricercar-like section notated traditionally in minims. While this section was later removed, the transition to the subsequent section remained, albeit with the quaver figuration changed into semiquavers. It thus seems likely that the imitative section in long note values and the subsequent transition, as notated in the earlier version, were intended to be played at a faster tempo than the rest.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Ex-3.png\" alt=\"\"\/><br \/>\n<span class=\"caption-text\"><strong>Ex.\u00a03:<\/strong> Comparison of Claudio Merulo, Toccata di Ms. Claudio, no.\u00a018, from the <em>Turin Tablature<\/em>, and <em>Quarto Tuono: Toccata Ottava<\/em>, from <em>Toccate d\u2019intavolatura d\u2019organo [\u2026] libro primo<\/em>, bb.\u00a052\u201357.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/span><\/p>\n<p>The situation is clearer still in the next toccata, no.\u00a019 in the <em>Turin Tablature<\/em> and no.\u00a08 in Merulo\u2019s second book of toccatas. As shown in Ex.\u00a04, the imitative section starting at b.\u00a045 is retained in the 1604 print, albeit in a revised version with halved note values. All imitative sections in Merulo\u2019s printed toccatas are notated in this manner, in crotchets rather than minims, producing an overall smaller range of note values and less rhythmic contrast between sections. Unless the two surviving versions were intended to sound very different in terms of tempo, Merulo must have expected considerable tempo changes at the transitions from one section to another in at least one of these versions.<\/p>\n<p>We can also consider the possibility that Merulo\u2019s idea of the degree of contrast between sections evolved over time, and that rapid passages were later played more slowly, while imitative sections became faster, than when he first wrote down the toccatas. Such passages could, for example, have slowed down if the harpsichord was exchanged for the organ. One detail that would support the idea of a slower tempo for the semiquaver passages in the later version is the intensification of the ornamentation and the introduction of occasional demisemiquavers. Moreover, both versions of the imitative section contain trills in semiquavers. Whereas the surrounding notes are halved in the print, many of these trills remain written as semiquavers, only with fewer repercussions, and solely the short <em>tremoletti<\/em> are transformed into demisemiquavers. It is more likely, however, that the additional scales and repercussions in demisemiquavers found in the print fall within the scope of the original performance practice and that similar florid passages could have been improvised by expert players. It has been suggested that the early versions of these toccatas may have been copied from an early print, announced in 1567 and now lost, and that the intensification of ornamentation was enabled by the change in printing technology from movable type to copper plates.<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/06\/6.-Marincic-Notenbsp._Ex.-4.png\" alt=\"\"\/><br \/>\n<span class=\"caption-text\"><strong>Ex.\u00a04:<\/strong> Comparison of Claudio Merulo, T<em>occata del Ms. Claud.<\/em>, no.\u00a019, from the <em>Turin Tablature<\/em>, and <em>Ottavo Tuono: Toccata Ottava<\/em>, from <em>Toccate d\u2019intavolatura d\u2019organo [\u2026] libro secondo<\/em>, bb.\u00a042\u201350.<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/span><\/p>\n<p>While the early versions of these toccatas feature greater rhythmic contrast between sections, this contrast is provided mainly by the diminutions. With all figurations, trills, and scales removed, the early versions would appear to be more unified, with slower harmonic movement retained throughout the pieces. Yet in performance they seem to require more obvious tempo changes than the revised versions, where the imitative sections are notated in crotchets.<\/p>\n<div id=\"3\">\n<h4>Taking Additional Time for Ornamentation<\/h4>\n<\/div>\n<p>Several late 16th-century treatises discourage the momentarily slowing down of the beat in order to perform diminutions:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">I say that it is difficult to keep the diminution in tempo, and this is of greatest importance for everyone who follows this profession of making diminutions with all kinds of instruments. Therefore, let everyone, in their study, strive to beat time, and never study without this order, and become accustomed to the <em>tactus<\/em>; for to do otherwise would not be a good thing.<br \/> (Girolamo Dalla Casa, <em>Il vero modo di diminuir<\/em> [1584])<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/p>\n<\/blockquote>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">It is good, however, to avoid them [parallel fifths and octaves] as much as possible, and anyone will do it easily with attention to time and measure, because to tell the truth, however swift, skilful and distinct the ricercata may be, if perchance it is not achieved in time, it loses all its elegance.<br \/> (Riccardo Rognoni, <em>Passaggi per potersi essercitare Nel Diminuire<\/em> [1592])<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/p>\n<\/blockquote>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">One should never give way to any of the singer\u2019s voices, because giving way to the desires of this or that singer to give them time to fill the songs with graces makes the harmonies weak and slow, and the [other] singers find it unreasonably tiresome, hating that slowing down and unwelcome intervention.<br \/> (Lodovico Zacconi, <em>Prattica di musica<\/em> [1592])<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/p>\n<\/blockquote>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">Some are in the habit, in order to accommodate <em>passaggi<\/em> in their own way, of holding a one-beat note for two or three beats, for what reason I do not know: what I do know is that it is more praiseworthy when making <em>passaggi<\/em> to remain bound to the correct pulse, as written in the part, except at the end, that is on the final note.<br \/> (Giovanni Battista Bovicelli, <em>Regole, passaggi di musica<\/em> [1594])<a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/p>\n<\/blockquote>\n<p>While Dalla Casa and Rognoni may be seen to focus on correct time-keeping in a didactic context, Zacconi and Bovicelli seem to criticise existing practices. Differentiation between solo and ensemble performance is also possible, as suggested in the discourse sent by Giovanni de\u2019 Bardi to Giulio Caccini around 1578. Towards the end of his letter Bardi criticises certain ensemble singers:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">There are also others who are so complacent when performing <em>passaggi<\/em> that they disregard the <em>tactus<\/em>, breaking it down and stretching it out so much that they do not allow their companions to sing in a good manner at all.<\/p>\n<\/blockquote>\n<p>A few lines later, Bardi writes that different criteria apply to solo performance:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">When singing alone or to the lute, harpsichord, or other instrument, one may contract or stretch the <em>tactus<\/em> at will, as it is up to the singer to lead the measure according to his judgement.<a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a><\/p>\n<\/blockquote>\n<p>As regards the question of flexibility of tempo, Bardi, like his contemporary Haiden, sees a considerable difference between solo and ensemble performance. While stating that the solo performer may vary the beat \u2018\u00e0 suo piacere\u2019, or \u2018nach seinem selbst gefallen\u2019, they both imply that such practices may cause problems in an ensemble. Whereas Haiden mentions the requirement to change the measure to express affect, Bardi criticises ensemble singers for slowing down the beat for ornamentation. Bardi does not seem to be criticising simple tempo changes: such <em>passaggi<\/em> seem to have demanded a <em>tactus<\/em> which was either much too slow or too irregular and unpredictable for other ensemble members to follow. While he does not say whether in solo singing the beat would also have varied on account of diminutions, this is perhaps not unlikely.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Ex-5.png\" alt=\"\"\/><br \/>\n<span class=\"caption-text\"><strong>Ex.\u00a05:<\/strong> Daniel Bacheler, \u2018To Plead My Faith\u2019, bb.\u00a01\u20134. Comparison of versions in <em>A Musicall Banquet<\/em> (1610) and <em>Giles Earle&#8217;s Songbook<\/em> (c.\u00a01615\u201326).<a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a><\/span><\/p>\n<p>Cases where the beat has to be suspended or slowed down momentarily in order to accommodate written-out ornamentation at cadences and elsewhere are especially common in English solo songs of the early 17th century, among which we find ornamented versions of songs by Giulio Caccini.<a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a> Sometimes, in respect of the unornamented original versions, notes are prolonged. In Ex.\u00a05, which shows three versions of the opening phrase of a song by Daniel Bacheler, the penultimate note is doubled in length at the written-out repeat to provide more time for cadential diminution.<\/p>\n<p>Sometimes, diminutions are carefully rhythmicised to fit into the underlying structure, but their density and speed might be a reason for performers to slow down considerably. See, for example, b. 12 of Ex.\u00a06, taken from Luzzasco Luzzaschi\u2019s madrigals for one to three voices and keyboard, printed in 1601 but probably written in the 1580s.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Ex-6.png\" alt=\"\"\/><br \/>\n<span class=\"caption-text\"><strong>Ex.\u00a06:<\/strong> Luzzasco Luzzaschi, \u2018O Primavera\u2019, bb.\u00a01\u201313.<a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a><\/span><\/p>\n<p>Ex.\u00a07 shows an excerpt from Jacques Arcadelt\u2019s madrigal <em>Ancidetemi pur<\/em> in an intabulation by Ascanio Mayone published in 1603. The figure present in the first two bars subsequently appears in halved note values, perhaps mainly in order to fit it into the rhythmical structure of the original madrigal. A literal interpretation is very unlikely, and the cadence in b.\u00a018 would possibly been slowed down to half tempo.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Ex-7.png\" alt=\"\"\/><br \/>\n<span class=\"caption-text\"><strong>Ex.\u00a07:<\/strong> Ascanio Mayone, <em>Ancidetemi pur<\/em> (after Jacques Arcadelt), bb.\u00a016\u201318.<a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a><\/span><\/p>\n<p>Such practices must have had their roots in improvised ornamentation. In the passage quoted above, Bovicelli mentions that some performers double or triple the length of the beat so that they can sing the diminutions \u2018a modo loro\u2019, implying a personal style and possibly either questionable taste, incompatibility with other ensemble members, or both. He considers it more praiseworthy to stay in the right time as written, except for the penultimate note at the very end. Throughout his treatise on diminution, Francesco Rognoni gives many examples of cadential <em>passaggi<\/em> that are two or more beats longer than the originals. He seems to be in agreement with Bovicelli, since these instances are all limited to final cadences.<a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a> Examples such as the ones given above suggest, however, that, at least in solo performance, some practitioners considered taking more time or slowing down for ornamentation to be acceptable at cadences within a piece.<a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a><\/p>\n<div id=\"4\">\n<h4>Tempo and the Density of Ornamentation<\/h4>\n<\/div>\n<p>Noticeable variations in the density of ornamentation, or even the presence and absence of diminutions in different sections of a piece, may perhaps indicate tempo changes intended by the composer. Their actual interpretation must sometimes remain open to question, since diminutions may demand either a slower beat or a livelier one, depending on the context. Vicentino\u2019s criticism of singers for adding inappropriate diminutions to sad passages does not mean that all slow music must be devoid of <em>passaggi<\/em>. On the contrary, a slow beat can enable more florid ornamentation, while lively sections in a faster beat may provide less opportunity for diminution.<\/p>\n<p>Girolamo Frescobaldi, Luzzaschi\u2019s pupil, draws an analogy between keyboard toccatas and modern madrigals, where the beat would have varied according to the <em>affetti<\/em>, or meaning of the words. In a separate clause, he also makes it clear that he expects the tempo to be adjusted to the ornamentation both in his partitas and in his toccatas, suggesting a broad tempo for those variations or toccata sections that feature <em>passaggi<\/em> and <em>affetti<\/em>.<a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a> It is possible that some earlier composers likewise anticipated certain tempo changes, adding more diminutions when a slower beat provided more time. We might be able to reconstruct some of their ideas of tempo differentiation on the basis of written-out ornamentation, especially in intabulations of vocal music where tempo changes may have been motivated by the sense of the words. Such a practice is easier to argue on the basis of notation than the opposite possibility of heightening the contrast between passages notated in shorter or longer note values.<\/p>\n<p>The appendix reproduces four complete pieces from late 16th-century Venice with hypothetical suggestions for tempo changes. Each of them belongs to a different genre: an intabulated madrigal, a motet with diminutions, a keyboard canzona, and a ricercar.<\/p>\n<p>Andrea Gabrieli\u2019s <em>Ricercar Quinto Tono<\/em>, published posthumously in <em>Il terzo libro de ricercari<\/em> of 1596 (see <a id=\"ax1\" href=\"#6\">Appendix 1<\/a>), features a striking contrast between ornamented and unornamented polyphony, with diminutions being completely absent in the second half of the piece. This would seem to make more sense if the tempo from the middle onwards, for example from the fifth appearance of the second subject at the end of b.\u00a050, was expected to be noticeably faster in performance. A similar situation with a completely unornamented final section is found in those two Gabrieli ricercars that finish in triple time and where the change of measure is made obvious by the new time signature.<a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a><\/p>\n<p>Such quickening of the beat in a piece is described as being appropriate for motets, madrigals, and <em>canzone villanesche<\/em>, in an undated manuscript by Vicentino\u2019s contemporary Giovanthomaso Cimello. He writes that such variation is more pleasing and entertaining.<a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a> Nevertheless, such a tempo change is difficult to prove. The lack of ornaments in the second half of Gabrieli\u2019s ricercar may be a deliberate effect, perhaps meant to provide variety. It is after all connected to the compositional design: while diminutions are almost invariably introduced in moments where the subjects are absent, the second subject is continuously present in one part or the other throughout bb.\u00a043\u201393.<\/p>\n<p>A change towards a quicker tempo may be suggested by the distribution of the ornamentation in Andrea Gabrieli\u2019s intabulation of Cipriano de Rore\u2019s famous madrigal &#8218;Anchor che col partire&#8216;, published in the same collection as the <em>Ricercar del quinto tono<\/em> and given in <a id=\"ax2\" href=\"#7\">Appendix 2<\/a>. In the second half of the piece the ornamental figures are far fewer and much simpler. One could argue that the unornamented sections do not lend themselves to diminution, but this is disproved by the version of Gabrieli\u2019s intabulation published in Bernhard Schmid\u2019s <em>Tabulatur Buch<\/em> (Nuremberg: Lazarus Zetzner, 1607), where the ornamentation is distributed more or less evenly throughout the piece.<a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a> A tempo change at the end of b.\u00a018 seems a possible explanation for the lack of diminution, especially since it is supported by the affect of the text, attributed to Alfonso d\u2019Avalos. The change occurs after a melancholy and tender opening, at the point when the lover assumes a more active role: \u2018And thus a thousand thousand times a day I would like to part from you\u2019. A different affect is already underlined by the use of shorter note values in Rore\u2019s original, and a quicker beat would heighten this contrast despite reducing the difference between note values on the surface of Gabrieli\u2019s ornamented version.<a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a><\/p>\n<p>It is of course also possible for a performer to introduce additional tempo changes and to return to a slower beat in both occurrences of the passage that speaks of sweetness (\u2018Tanto son dolci gli ritorni miei\u2019). These moments are reminiscent, both textually and musically, of the section at the end of the first half (\u2018Tant\u2019 \u00e8 il piacer ch\u2019io sento\u2019). Since the one is ornamented and the other is left without any diminution, one could draw the conclusion that their tempi must be different, but a resumption of the original slow tempo for the \u2018returns\u2019 can provide additional variety. In this way the piece will have four tempo changes and three varying combinations of tempo and movement: 1) slow sections in long note values without <em>passaggi<\/em>, 2) ornamented slow sections, and 3) sections in a faster beat without diminutions and only occasional ornamental figures. Sections for which a faster tempo is suggested are marked in red in both the following text and the music given in <a href=\"#7\">Appendix 2<\/a>.<\/p>\n<table style=\"width: 100%; font-family: 'Lato'; font-size: 15px;\">\n<td>\n            Anchor che col partire<br \/>\n            Io mi senta morire,<br \/>\n            Partir vorrei ogn\u2019hor, ogni momento,<br \/>\n            Tant\u2019 \u00e8 il piacer ch\u2019io sento<br \/>\n            De la vita ch\u2019acquisto nel ritorno.<br \/>\n            <span style=\"color: red;\">E cosi mille\u2019e mille volt\u2019il giorno<\/span><br \/>\n            <span style=\"color: red;\">Partir da voi vorrei,<\/span><br \/>\n            Tanto son dolci gli ritorni miei.<br \/>\n            <span style=\"color: red;\">E cosi mille\u2019e mille volt\u2019il giorno<\/span><br \/>\n            <span style=\"color: red;\">Partir da voi vorrei,<\/span><br \/>\n            Tanto son dolci gli ritorni miei.\n        <\/td>\n<td>\n            Although in parting<br \/>\n            I feel myself dying,<br \/>\n            I would like to leave every hour, every moment,<br \/>\n            So great is the pleasure that I feel<br \/>\n            From the life that I gain in returning.<br \/>\n            <span style=\"color: red;\">And thus a thousand thousand times a day<\/span><br \/>\n            <span style=\"color: red;\">I would like to part from you,<\/span><br \/>\n            So sweet are my returns.<br \/>\n            <span style=\"color: red;\">And thus a thousand thousand times a day<\/span><br \/>\n            <span style=\"color: red;\">I would like to part from you,<\/span><br \/>\n            So sweet are my returns.<a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a>\n        <\/td>\n<\/table>\n<p>Giovanni Bassano\u2019s ornamented version of Palestrina\u2019s motet \u2018Pulchra es\u2019, published in 1591, can likewise be interpreted by considering the poetic text. Bassano provides texted diminutions for the two outer voices, reproduced in <a id=\"ax3\" href=\"#8\">Appendix 3<\/a>. In two sections found in the second half of the piece (bb.\u00a029\u201335 and 44\u201355), he avoids diminutions in semiquavers, with the exception of the cadence in b.\u00a036, which ends the first of these sections. From a purely musical viewpoint it may seem unusual, or even disappointing, to end the piece with diminutions in quavers, and not with a more profusely ornamented cadence such as the one mentioned above. On the other hand, performers might accept this slower movement as being suitable for the end of the piece. A viable solution to the problem of finding the appropriate tempo and movement is provided by the text, which is an excerpt from <em>The Song of Songs<\/em>:<\/p>\n<table style=\"width: 100%; font-family: 'Lato'; font-size: 15px;\">\n<td>\n                Pulchra es, amica mea,<br \/>\n                Suavis et decora sicut Hierusalem<br \/>\n                <span style=\"color: red;\">Terribilis ut castrorum acies ordinata.<\/span><br \/>\n                Averte oculos tuos a me,<br \/>\n                <span style=\"color: red;\">Quia ipsi me avolare fecerunt.<\/span>\n            <\/td>\n<td>\n                Thou art beautiful, O my love,<br \/>\n                Sweet and comely as Jerusalem,<br \/>\n                <span style=\"color: red;\">Terrible as an army with banners.<\/span><br \/>\n                Turn away thine eyes from me,<br \/>\n                <span style=\"color: red;\">For they have made me flee.<\/span>\n            <\/td>\n<\/table>\n<p>The third line, \u2018Terrible as an army with banners\u2019, provides a strong contrast to the sweetness of the beginning. This passage is today considered to be an unfortunate Latin mistranslation of the Hebrew original,<a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a> but, as it stands, it might imply a more forceful performance, perhaps with a faster beat. Since the movement in Bassano\u2019s diminution is noticeably slower at this point, a faster beat might in fact have been expected until the ornamented cadence in b.\u00a036. A faster tempo is more obviously implied by the final line, \u2018for they have made me flee\u2019. One would expect a faster movement, but Bassano avoids semiquavers until the very end. His diminutions enable a faster beat in both of these sections.<\/p>\n<p>The final example is a canzona by Claudio Merulo. An ensemble version of this piece, by the title of <em>L\u2019Olica<\/em>, appeared in a collection of canzonas of 1588 and is given in <a id=\"ax4a\" href=\"#9\">Appendix 4a<\/a>. At first glance this version seems somewhat uniform, with no obvious change of note values from beginning to end. Merulo\u2019s ornamented intabulation, published posthumously as <em>La Radivila<\/em> and shown in <a id=\"ax4b\" href=\"#10\">Appendix 4b<\/a>, may shed light on tempo changes that he expected. We find a repeated section where diminutions are largely avoided and remain reserved for the final cadences (bb.\u00a021\u201329 and 40\u201348). The character of this section with its energetic canzona motifs contrasts with the beginning of the piece, and a faster tempo seems appropriate.<\/p>\n<div id=\"5\">\n<h4>Conclusion<\/h4>\n<\/div>\n<p>While the changes of tempo suggested for the last three pieces can also be employed when performing the unornamented originals, they are hypothetical and by no means obligatory; the pieces would surely have been approached in various ways by musicians of the period. On the other hand, one can also imagine tempo changes in addition to the ones presented, especially since they are relatively simple: a single change in the ricercar, four changes in the intabulated madrigal, and three changes in both the ornamented motet and the keyboard canzona. They all occur in the middle of pieces, after the initial tempo has been well established, and can respond to the need for variety. Such tempo changes can easily be realised in an ensemble and do not seem to correspond to Haiden\u2019s description of keyboard soloists changing the measure in ways that would be impracticable for a group of string players. Additional adjustments of tempo may, for example, be employed at the ornamented cadences.<\/p>\n<p>Such observations may nevertheless be useful to modern performers, many of whom remain unaware of these possibilities. Tempo changes provide more variety: they can help to hold the listener\u2019s attention, and, when they are recognised as such, to contribute to the communication between performers and their audiences. While highlighting changes of affect, they can also clarify the musical and poetic form, elucidating certain compositional choices. Furthermore, they enable the performer to introduce greater contrasts by including tempi that are slower or faster than is viable when the tempo remains unchanged throughout a piece. Several of these aspects are confirmed by contemporary writers. Vicentino explains:<\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">A composition sung with changes of measure is pleasing because of the variety, more so than one that continues on to the end without any variation of tempo. Experience with this technique will make everyone secure in it. You will find that in vernacular works the procedure gratifies listeners more than a persistent changeless measure.<a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a><\/p>\n<\/blockquote>\n<div id=\"6\">\n<h4>Appendix 1<\/h4>\n<\/div>\n<p>Andrea Gabrieli, <em>Ricercar del quinto tono<\/em>, from <em>Il terzo libro de ricercari<\/em> (Venice: Angelo Gardano, 1596), fols.\u00a07<sup>r<\/sup>\u201310<sup>r<\/sup>. Online: &lt;<a href=\"https:\/\/doi.org\/10.3931\/e-rara-55399\">https:\/\/doi.org\/10.3931\/e-rara-55399<\/a>&gt;.<a href=\"#ax1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-1-1.png\" alt=\"\"\/><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-1-2.png\" alt=\"\"\/><\/p>\n<div id=\"7\">\n<h4>Appendix 2<\/h4>\n<\/div>\n<p>Andrea Gabrieli, \u2018Anchor che col partire\u2019 (after Cipriano de Rore) from <em>Il terzo libro de ricercari<\/em> (Venice: Angelo Gardano, 1596), fols.\u00a034<sup>r<\/sup>\u201336<sup>r<\/sup>. Online: &lt;<a href=\"https:\/\/doi.org\/10.3931\/e-rara-55399\">https:\/\/doi.org\/10.3931\/e-rara-55399<\/a>&gt;. Sections for which a faster tempo is suggested are marked in red.<a href=\"#ax2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-2-1.png\" alt=\"\"\/><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-2-2.png\" alt=\"\"\/><\/p>\n<div id=\"8\">\n<h4>Appendix 3<\/h4>\n<\/div>\n<p>Giovanni Bassano, \u2018Pulchra es amica mea\u2019 (after Giovanni Pierluigi da Palestrina), from <em>Mottetti, madrigali, et canzone francese<\/em> (Venice, 1591; original print lost, see Friedrich Chrysander\u2019s copy from 1890 in: D-Hs Ms. M B\/2488), no.\u00a051. Sections for which a faster tempo is suggested are marked in red.<a href=\"#ax3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-3-1.png\" alt=\"\"\/><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-3-2.png\" alt=\"\"\/><\/p>\n<div id=\"9\">\n<h4>Appendix 4a<\/h4>\n<\/div>\n<p>Claudio Merulo, <em>L\u2019Olica<\/em> (keyboard reduction), from <em>Canzon di diversi per sonar con ogni sorte di stromenti<\/em> (Venice, 1588) (RISM 1588<sup>31<\/sup>), fols.\u00a0A2<sup>r<\/sup> (Canto), E2<sup>r<\/sup> (Alto), C2<sup>r<\/sup> (Tenore), G2<sup>r<\/sup> (Basso).<a href=\"#ax4a\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-4a-1.png\" alt=\"\"\/><\/p>\n<div id=\"10\">\n<h4>Appendix 4b<\/h4>\n<\/div>\n<p>Claudio Merulo, <em>La Radivila<\/em>, from <em>Libro secondo di canzoni d&#8217;intavolatura d&#8217;organo<\/em> (Venice: Angelo Gardano, 1606), fols.\u00a06<sup>r<\/sup>\u20137<sup>v<\/sup>. Sections for which a faster tempo is suggested are marked in red.<a href=\"#ax4b\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-4b-1.png\" alt=\"\"\/><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/6.-Marincic-Notenbsp._Appendix-4b-2.png\" alt=\"\"\/><\/p>\n<h4>Endnotes<\/h4>\n<aside id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>Nicola Vicentino, <em>L\u2019antica musica ridotta alla moderna prattica<\/em> (Rome: Antonio Barre, 1555), lib.\u00a04, cap.\u00a042, fol.\u00a094<sup>v<\/sup> (incorrectly numbered 88 in the print); online: &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00103730\">https:\/\/mdz-nbn-resolving.de\/details:bsb00103730<\/a>&gt; (accessed 23\u00a0June 2022).<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>In this context, harmony may have been understood in its broader sense, embracing various aspects of the composition.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Vicentino, <em>L\u2019antica musica<\/em>, lib.\u00a04, cap.\u00a042, fol.\u00a094<sup>v<\/sup> [=88<sup>v<\/sup>]: \u2018&amp; la esperienza, dell\u2019Oratore l\u2019insegna, che si vede il modo che tiene nell\u2019Oratione, che hora dice forte, &amp; hora piano, &amp; pi\u00f9 tardo, &amp; pi\u00f9 presto, e con questo muove assai gl\u2019oditori\u2019. Translation from Nicola Vicentino, <em>Ancient Music Adapted to Modern Practice<\/em>, trans. Maria Rika Maniates, ed. Claude V. Palisca, Music theory translation series (New Haven, 1996), 301.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Giovanthomaso Cimello, <em>The Collected Secular Works<\/em>, ed. Donna G. Cardamone and James Haar, RRMR 126 (Madison, WI, 2001), 163.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Hanns Haiden, <em>Musicale instrumentum reformatum<\/em> ([Nuremberg, 1610]) (VD17 12:651984X), fol.\u00a0B<span class=\"smallcaps\">v<\/span><sup>r<\/sup>: \u2018Zum andern \/ kan der Instrumentist \/ nach seinem selbst gefallen mit der Mensur wexln\/ die jetzt langsam \/ dann bald wiederumb geschwinder f\u00fchren \/ welches auch darzu geh\u00f6rt \/ die <em>affectus<\/em> zu <em>movirn<\/em>, So aber mehr Geiger\/ zu gleich mit einander nicht thun \/ noch so eben zusamm treffen k\u00f6nnen\u2019; online: &lt;<a href=\"https:\/\/nbn-resolving.org\/urn:nbn:de:bvb:22-jh.mus.d.1-3\">https:\/\/nbn-resolving.org\/urn:nbn:de:bvb:22-jh.mus.d.1-3<\/a>&gt; (accessed 24\u00a0June 2022). Unless otherwise indicated, translations are the author\u2019s own.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>A certain degree of flexibility about when to employ tempo changes is likewise implied by Vicentino\u2019s remark that singers in an ensemble will have to agree where to change the tempo. See also Bardi\u2019s comment on solo singers contracting or stretching the <em>tactus<\/em> at their pleasure quoted in n.\u00a031 below.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>See Monika Holl, \u2018\u201cDer Musica Triumph\u201d \u2013 Ein Bilddokument von 1607 zur Musikauffassung des Humanismus in Deutschland\u2019, in: <em>Imago musicae<\/em> 3 (1986), 9\u201330, at 19.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Michael Praetorius, <em>Syntagma musicum<\/em> II (Wolfenb\u00fcttel, 1619) (VD17 3:315037M), pt.\u00a02, cap.\u00a044, 70: \u2018Und in andern <em>Instrumenten<\/em> gleicher gestalt kan in acht genommen werden\u2019.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Praetorius discusses varying the beat on several other occasions. See Domen Marin\u010di\u010d, \u2018\u201cNow quickly, now again slowly\u201d: Tempo modification in and around Praetorius\u2019, in: <em>De musica disserenda<\/em> 15\/1\u20132 (2019), 47\u201369.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Bartolomeo Ramis de Pareja, <em>Musica practica<\/em> (Bologna: Baltasar de Hyrberia, 1482), pt.\u00a0III, tract.\u00a01, cap.\u00a02, 84.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>See Ruth DeFord, <em>Tactus, Mensuration, and Rhythm in Renaissance Music<\/em> (Cambridge, 2015), 82\u20133 and 409.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Luis Mil\u00e1n, <em>Libro de m\u00fasica de vihuela de mano intitulado El maestro<\/em> (Valencia: Francisco D\u00edaz Romano, 1536), fol.\u00a0D3<sup>r<\/sup>: \u2018Y para ta\u00f1erla con su natural aire os hab\u00e9is de regir de esta manera: todo lo que ser\u00e1n consonancias ta\u00f1erlas con el comp\u00e1s despacio, y todo lo que ser\u00e1n redobles ta\u00f1erlos con el comp\u00e1s aprisa, y parar de ta\u00f1er en cada coronada un poco\u2019. Online: &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000022795\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000022795<\/a>&gt; (accessed 3\u00a0July 2022).<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Vicentino, <em>L\u2019antica musica<\/em> (see n.\u00a01), lib.\u00a04, cap.\u00a021, fol.\u00a082<sup>r<\/sup>. Severo Bonini, in the postface to his <em>Affetti spirituali a dua voci<\/em> (Venice: Bartolomeo Magni, 1615), writes that the singer should speed up the <em>tactus<\/em> still more at figures in quavers or semiquavers in the manner of diminutions, \u2018for otherwise the work will give little pleasure to the listeners and the singer will show little skill\u2019.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Lodovico Zacconi, <em>Prattica di musica<\/em> (Venice: Bartolomeo Carampello, 1592), lib.\u00a01, cap.\u00a033, fol.\u00a021<sup>v<\/sup>: \u2018perche piu tatti po\u00dfano essere quali piu presti, &amp; quali piu tardi, secondo il loco, il tempo, &amp; l\u2019occasione, che questa variet\u00e0 alla Musica non apporta verun diffetto se per\u00f2 chi regge il tatto, lo sa restringere, &amp; allargare, &amp; far che la sudetta alzata, &amp; cadduta venghi in atto equale, &amp; non alterato\u2019.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>Gioseffo Zarlino, <em>Le istitutioni harmoniche<\/em> (Venice: Francesco de Franceschi, 1558), lib.\u00a03, cap.\u00a048, 207, explains this analogy, using the terms \u2018allargamento\u2019 and \u2018ristrengimento\u2019; online: &lt;<a href=\"https:\/\/digital.library.unt.edu\/ark:\/67531\/metadc25960\/\">https:\/\/digital.library.unt.edu\/ark:\/67531\/metadc25960\/<\/a>&gt; (accessed 27\u00a0July 2022).<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Zacconi, <em>Prattica di musica<\/em>, lib.\u00a01, cap.\u00a067, fol.\u00a076<sup>v<\/sup>: \u2018Dove che per esser da tutti inteso, accioche si tolghi del stato presente questo si biasmevole abuso, &amp; si levi \u00e0 fatto \u00e0 fatto questo errore dico; che si trovano alcuni sumministratori del tatto, che regendolo in alcune cantilene difficile ove siano gran copia di Chrome; per far che i Cantori le contino meglio, &amp; con minor difficolt\u00e0; allargano tanto il sudetto tatto che le fanno pronuntiare per Semiminime, &amp; non si aveggano che se il compositore che le compose have\u00dfe voluto che le si fossero per Semiminime cantate, non l&#8217;haveria fatte Chrome; \u00e8 per\u00f2 \u00e8 bene che da gl&#8217;ascoltanti la sieno conosciute per Chrome come dal Compositore le sono state fatte [\u2026] Si possano ben cantare le figure diversamente: perche il Compositore \u00e8 obligato \u00e0 comporle secondo l\u2019ordine de i segni &amp; le regole del Tempo ch\u2019egli adopera; &amp; il Cantore a cantarle come li pare &amp; piace: perche chi vuol tener \u00e0 uno che quella Semibreve che communemente vale un tatto non la canti per una Breve, \u00f2 per una Longa, dando il vallore \u00e0 ciascheduna multiplicato? overo diminuirle per la mett\u00e0 et farle gire sotto di e\u00dfo tatto la metta piu presto et piu velloce? ma si come questo modo ci cantare seria un capriccio, &amp; una maniera stravagante, pe[r] non dir temeraria: cosi ancora il commutar le Chrome in figure di Semiminime non \u00e8 lodevole: perche in ogni modo che l\u2019huomo le pu\u00f2 cantare &amp; rivoltare; il Compositor che le compose volendo l\u2019haveria potuto cosi formare\u2019.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Francesco da Milano and Pietro Paolo Borrono, <em>Intabulatura di lauto<\/em> <em>del divino Francesco da Milano, et dell\u2019eccellente Pietro Paulo Borrono da Milano<\/em> [\u2026] <em>libro secondo<\/em> (Venice: [Gerolamo Scotto], 1546) (RISM 1546<sup>30<\/sup>), fol.\u00a030<sup>r<\/sup>: \u2018Per che ne la detta fantesia li sono alchune battute che alli scholari serano dificile glie fatte le medeme battute in altra forma di tempo piu facile, cioe se redotta la semicroma in croma. Et la croma in seminima\u2019. Online: &lt;<a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/8\/81\/IMSLP263476-PMLP427136-milano_intabolatura_de_lauto_2.pdf\">https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/8\/81\/IMSLP263476-PMLP427136-milano_intabolatura_de_lauto_2.pdf<\/a>&gt; (accessed 5\u00a0August 2022).<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Luis G\u00e1sser, <em>Luis Mil\u00e1n on Sixteenth-Century Performance Practice<\/em> (Bloomington, 1996), 81.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>See Bernhold Schmid, \u2018\u201cNec non Tyronibus qu\u00e0m eius artis peritioribus summopere inservientes.\u201d \u2013 Zur gedruckten \u00dcberlieferung von Lassos Bicinien\u2019, in: <em>Yearbook of the Alamire Foundation<\/em> 6 (2008), 177\u2013203, at 192\u20134. The editions discussed are: Orlando di Lasso, <em>Novae aliquot et ante hac non ita usitatae cantiones suavissimae<\/em> (Munich: Adam Berg, 1577); <em>Bicinia, sive cantiones suavissimae duarum vocum<\/em> (Antwerp: Pierre Phal\u00e8s and Jean Bell\u00e8re, 1590) (RISM 1590<sup>19<\/sup>); and <em>Bicinia, sive cantiones suavissimae duarum vocum<\/em> (Antwerp: Pierre Phal\u00e8se, 1609) (RISM 1609<sup>18<\/sup>).<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Seth Calvisius, <em>Bicinia septuaginta ad sententias evangeliorum anniversorium<\/em> (Leipzig: Jacob Apel, 1599), fol.\u00a0X3<sup>r<\/sup>, rule\u00a018.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Francesco da Milano and Borrono, <em>Intabulatura di lauto<\/em> [\u2026] <em>libro secondo<\/em>, fols.\u00a028<sup>r<\/sup>\u201330<sup>r<\/sup>, at 30<sup>r<\/sup>.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>See Desmond Hunter\u2019s critical commentary to William Byrd, <em>Organ and Keyboard Works: Fantasias and Related Works<\/em>, ed. Desmond Hunter (Kassel, 2019), 66.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p><em>My Ladye Nevells Booke<\/em>, GB-Lbl MS Mus.\u00a01591, no.\u00a036, fols.\u00a0161<sup>r<\/sup>\u20136<sup>r<\/sup>, at 161<sup>r<\/sup>f., and <em>The Fitzwilliam Virginal Book<\/em>, GB-Cfm Mus. MS\u00a0168, no.\u00a0103, 192\u20134, at 192.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>I-Tn, Fondo Fo\u00e0 Giordano, <em>Giordano 2<\/em>, no.\u00a018, 44\u20137, at 45\u20137, and <em>Toccate d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro primo<\/em> (Venice: Simone Verovio, 1598), 33\u20138, at 37 (online: &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00094272\">https:\/\/mdz-nbn-resolving.de\/details:bsb00094272<\/a>&gt;, accessed 27\u00a0July 2022). The bar numbers correspond to the bars in the print, since the <em>Turin Tablature<\/em> is unbarred. For complete comparative transcriptions of both of Merulo\u2019s toccatas discussed here 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.\u00a01500\u20131700, selected manuscript sources including music by Claudio Merulo, and contemporary writings concerning notations\u2019, 2\u00a0vols., PhD thesis, University of Oxford, 1989, i, 239\u201354 and 258\u201369.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>See Luigi Collarile, \u2018Claudio Merulo nell&#8217;intavolatura tedesca di Torino: il problema delle fonti\u2019, in: <em>In organo pleno: Festschrift f\u00fcr Jean-Claude Zehnder zum 65. Geburtstag<\/em>, ed. Luigi Collarile and Alexandra Nigito (Bern, 2007), 89\u2013112, at 99\u2013103.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>I-Tn, Fondo Fo\u00e0 Giordano, <em>Giordano 2<\/em>, no.\u00a019, 47\u201351, at 49\u201350, and <em>Toccate d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro secondo<\/em> (Rome: Simone Verovio, 1604), 34\u20138, at 37 (online: &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00094273\">https:\/\/mdz-nbn-resolving.de\/details:bsb00094273<\/a>&gt;, accessed 27\u00a0July 2022). The bar numbers correspond to the bars in the print, since the <em>Turin Tablature<\/em> is unbarred.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Girolamo Dalla Casa, <em>Il vero modo di diminuir<\/em> (Venice: Angelo Gardano, 1584), lib.\u00a02, preface, fol.\u00a0[A<sup>v<\/sup>]: \u2018Dico esser cosa difficile lo portar la minuta \u00e0 tempo, &amp; questa \u00e8 la maggior importanza ad ogn&#8217;uno, che facci questa professione del diminuir con tutte le sorti de Istromenti. Dunque ciascheduno avertisca nello studio suo di batter il tempo, &amp; di non studiar mai senza questo ordine, &amp; habituarsi alla battuta; perche facendo altrimenti non sarebbe cosa buona\u2019. Online: &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/scripts\/gaspari\/scheda.asp?id=2817\">http:\/\/www.bibliotecamusica.it\/cmbm\/scripts\/gaspari\/scheda.asp?id=2817<\/a>&gt; (accessed 27\u00a0July 2022).<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Riccardo Rognoni, <em>Passaggi per potersi essercitare Nel Diminuire terminatamente con ogni sorte d\u2019Instromenti<\/em> (Venice: Giacomo Vincenti, 1592), pt.\u00a02 (\u2018<em>Il vero modo di diminuire Con tutte le sorti di Stromenti da corde, da fiato, &amp; anco per la voce humana\u2019<\/em>), preface, 18: \u2018Ben\u2019\u00e8 per\u00f2 fuggirle quanto si potr\u00e0, e lo far\u00e0 facilmente ogn\u2019uno con l\u2019attentione del tempo, e della misura, che \u00e0 dire il vero sia pure veloce, artificiosa, &amp; distinta la Ricercata, se per avventura non riesce \u00e0 tempo, perde ogni sua leggiadria\u2019. Online: &lt;<a href=\"http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/7\/75\/IMSLP292311-PMLP474374-passaggi_etc_ricardo_ognoni_parte2.pdf\">http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/7\/75\/IMSLP292311-PMLP474374-passaggi_etc_ricardo_ognoni_parte2.pdf<\/a>&gt; (accessed 3 April 2024).<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Zacconi, <em>Prattica di musica<\/em>, lib.\u00a01, cap.\u00a033, fol.\u00a021<sup>v<\/sup> (see n.\u00a014): \u2018Ne mai a qual si voglia voce di cantore piegar si deve; perche il piegarsi alle voglie di questo, &amp; di quello per darli tempo ch\u2019empiano I canti di vaghezze, fa che l\u2019harmonie divenghino debole e lente; &amp; che I cantori si stanchino fuor di proposito odiando quella ritardanza, &amp; mal gradita attione\u2019.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Giovanni Battista Bovicelli, <em>Regole, passaggi di musica, madrigali et motetti passeggiati<\/em> (Venice: Giacomo Vincenti, 1594), 15: \u2018Sogliono alcuni per accommodarsi i Passaggi a modo loro, se una nota vale una battuta, tenerla due, \u00f2 tre, con che ragione, io no&#8217;l so, so bene che \u00e8 pi\u00f9 laudabile nel Passaggiare star obligato al tempo giusto, che si trova scritto nel Canto, fuori, che nel fine cio\u00e8 nella penultima nota\u2019. Translation from Giovanni Battista Bovicelli, <em>Regole, passaggi di musica, madrigali et motetti passeggiati<\/em>, ed. Gawain Glenton, trans. Oliver Webber (Frome, 2018), 14. Online: &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/scripts\/gaspari\/scheda.asp?id=7258\">http:\/\/www.bibliotecamusica.it\/cmbm\/scripts\/gaspari\/scheda.asp?id=7258<\/a>&gt; (accessed 27\u00a0July 2022).<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>Claude V. Palisca, <em>The Florentine Camerata: Documentary Studies and Translations<\/em> (New Haven, 1989), 124: \u2018Altresi si trovano altri che per dar compiacimento \u00e0 passaggi loro non avendo riguardo alla battuta, tanto la vanno rompendo et stracchiando che i suoi compagni con buon modo per via alcuna cantar non lasciano. [\u2026] Cantandosi solo, o in su\u2019l liuto, o gravicembalo, o, altro strumento si puote \u00e0 suo piacere la battuta stringere, e allargare, avvengache \u00e0 lui stia guidare la misura \u00e0 suo senno\u2019. As pointed out above, the terms \u2018stringere\u2019 and \u2018allargare\u2019 can describe both the <em>tactus<\/em> movement itself as well as changing its speed by quickening and slowing down the beat. The latter seems to apply here.<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>Robert Dowland (ed.), <em>A Musicall Banquet<\/em> (London: John Benson and John Playford, 1610) (RISM 1610<sup>20<\/sup>), fols.\u00a0D2<sup>v<\/sup>\u2013E<sup>r<\/sup>, and <em>Giles Earle&#8217;s Songbook<\/em>, GB-Lbl Add.\u00a024655, fols.\u00a048<sup>v<\/sup>\u201350<sup>r<\/sup>, at 48<sup>v<\/sup>\u201349<sup>r<\/sup>. For a complete comparative transcription see Edward Huws Jones, <em>The Performance of English Song, 1610\u20131670<\/em>, 2\u00a0vols. (New York, 1989), ii, 4\u20139.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>See John Bass, \u2018Would Caccini Approve? A Closer Look at Egerton 2971 and Florid Monody\u2019, in: <em>EM<\/em> 36 (2008), 81\u201393, esp. 87. Another example for such a practice is the much ornamented version of Caccini\u2019s \u2018Amarilli mia bella\u2019 in Johann Nauwach, <em>Libro primo di arie, passegiate \u00e0 una voce<\/em> (Dresden, 1623), no.\u00a012, fol.\u00a0C2<sup>v<\/sup>f.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>Luzzasco Luzzaschi, <em>Madrigali<\/em> [\u2026] <em>per cantare et sonare<\/em> (Rome: Simone Verovio, 1601), 3\u20135, at 3; online: &lt;<a href=\"https:\/\/lccn.loc.gov\/2008561305\">https:\/\/lccn.loc.gov\/2008561305<\/a>&gt; (accessed 27\u00a0July 2022).<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>Ascanio Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples: Costantino Vitale, 1603), 31\u20138, at 34.<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>Francesco Rognoni, <em>Selva de varii passaggi<\/em> (Milan: Filippo Lomazzo, 1620).<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>Another notable example is the heavily ornamented <em>Canzon franzese del Principe<\/em>, GB-Lbl, MS Add. 30491, fols.\u00a034<sup>v<\/sup>\u201338<sup>v<\/sup>, which is usually attributed to Gesualdo and might have been copied after 1617.<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>Girolamo Frescobaldi, <em>Toccate e partite d\u2019intavolatura di cimbalo<\/em> (Rome: Nicol\u00f2 Borboni, 1616), preface to the reader. The word <em>affetti<\/em> can be understood as \u2018affects\u2019 when referring to the meaning of the words, and as graces, ornaments, or other expressive devices when mentioned together with <em>passaggi<\/em>.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>See the <em>Ricercar del primo tono<\/em> (orig. <em>Ricercar del Primo Tuono<\/em>) and <em>Ricercar del quarto tono<\/em> (orig. <em>Quarti Toni<\/em>) in Andrea Gabrieli, <em>Ricercari<\/em> [\u2026] <em>libro secondo<\/em> (Venice: Angelo Gardano, 1595), fols.\u00a0[0<sup>v<\/sup>]\u20133<sup>v<\/sup> and 13<sup>r<\/sup>\u201317<sup>r<\/sup>. Online: &lt;<a href=\"http:\/\/doi.org\/10.3931\/e-rara-56111\">http:\/\/doi.org\/10.3931\/e-rara-56111<\/a>&gt; (accessed 27\u00a0July 2022). Modern edition in Andrea Gabrieli, <em>S\u00e4mtliche Werke f\u00fcr Tasteninstrumente<\/em>, ed. Giuseppe Clericetti, 6\u00a0vols. (Vienna, 1997), ii, 4 \u20139 and 24\u201330.<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>Cimello\/ed.\u00a0Cardamone and Haar, <em>The Collected Secular Works<\/em>, 163 (see n.\u00a04).<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>Modern edition in Andrea Gabrieli, <em>S\u00e4mtliche Werke f\u00fcr Tasteninstrumente<\/em>, ed. Giuseppe Clericetti, 6\u00a0vols. (Vienna, 1998), iii, 63\u20136.<a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p>For analyses of Rore\u2019s madrigal, see Lewis Lockwood, \u2018Text and Music in Rore\u2019s Madrigal \u201cAnchor che col partire\u201d\u2019, in: <em>Musical Humanism and its Legacy: Essays in Honor of Claude V. Palisca<\/em>, ed. Nancy Kovaleff Baker and Barbara Russano Hanning (Stuyvesant, NY, 1992), 243\u201351; DeFord, <em>Tactus, Mensuration, and Rhythm<\/em> (see n.\u00a011), 425\u201327; and Christopher Reynolds, \u2018Alessandro Striggio\u2019s Analysis of Cipriano de Rore\u2019s \u201cAncor che col partire\u201d\u2019, in: <em>Journal of the Alamire Foundation<\/em> 9, no.\u00a02 (2017), 197\u2013218.<a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>Translation from DeFord, <em>Tactus, Mensuration, and Rhythm<\/em> (see n.\u00a011), 425.<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>See J. Cheryl Exum, <em>Song of Songs: A Commentary<\/em>, The Old Testament Library (Louisville, KY, 2005), 217\u20139.<a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>Vicentino, <em>L\u2019antica musica<\/em> (see n.\u00a01), lib.\u00a04, cap.\u00a042, fol.\u00a094<sup>v<\/sup> [=88]: \u2018&amp; la compositione cantata, con la mutatione della misura \u00e8 molto gratiata, con quella varieta, che senza variare, &amp; seguire al fine, &amp; l\u2019esperienza di tal modo far\u00e0 certo ognuno, per\u00f2 nelle cose volgari si ritrover\u00e0 che tal procedere piacer\u00e0 pi\u00f9 \u00e0 gl\u2019oditori, che la misura continua sempre \u00e0 un modo\u2019. Translation from Vicentino\/ed.\u00a0Maniates, <em>Ancient Music Adapted to Modern Practice<\/em> (see n.\u00a03), 301.<a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<\/aside>\n<div id=\"11\">\n<h4>Bibliography<\/h4>\n<\/div>\n<p><\/p>\n<p class=\"bibliography\">John Bass, \u2018Would Caccini Approve? A Closer Look at Egerton 2971 and Florid Monody\u2019, in: <em>EM<\/em> 36 (2008), 81\u201393<\/p>\n<p class=\"bibliography\">Giovanni Bassano, <em>Mottetti, madrigali, et canzone francese<\/em> (Venice, 1591); original print lost, see Friedrich Chrysander\u2019s copy from 1890 in: D-Hs Ms. M B\/2488<\/p>\n<p class=\"bibliography\">Severo Bonini, <em>Affetti spirituali a dua voci<\/em> (Venice: Bartolomeo Magni, 1615)<\/p>\n<p class=\"bibliography\">Giovanni Battista Bovicelli, <em>Regole, passaggi di musica, madrigali et motetti passeggiati<\/em>, ed. Gawain Glenton, trans. Oliver Webber (Frome, 2018)<\/p>\n<p class=\"bibliography\">William Byrd, <em>My Ladye Nevells Booke<\/em>, GB-BL MS Mus. 1591<\/p>\n<p class=\"bibliography\">William Byrd, <em>Organ and Keyboard Works: Fantasias and Related Works<\/em>, ed. Desmond Hunter (Kassel, 2019)<\/p>\n<p class=\"bibliography\">Seth Calvisius, <em>Bicinia septuaginta ad sententias evangeliorum anniversorium<\/em> (Leipzig: Jacob Apel, 1599)<\/p>\n<p class=\"bibliography\">Giovanthomaso Cimello, <em>The Collected Secular Works<\/em>, ed. Donna G. Cardamone and James Haar, RRMR 126 (Madison, WI, 2001)<\/p>\n<p class=\"bibliography\">Luigi Collarile, \u2018Claudio Merulo nell&#8217;intavolatura tedesca di Torino: il problema delle fonti\u2019, in: <em>In organo pleno: Festschrift f\u00fcr Jean-Claude Zehnder zum 65. Geburtstag<\/em>, ed. Luigi Collarile and Alexandra Nigito (Bern, 2007), 89\u2013112<\/p>\n<p class=\"bibliography\">Thomas Crecquillon, Gioseffo Guami, and Claudio Merulo, <em>Canzon di diversi per sonar con ogni sorte di stromenti<\/em> (Venice: Giacomo Vincenti, 1588)<\/p>\n<p class=\"bibliography\">Girolamo Dalla Casa, <em>Il vero modo di diminuir<\/em> (Venice: Angelo Gardano, 1584), &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/scripts\/gaspari\/scheda.asp?id=2817\">http:\/\/www.bibliotecamusica.it\/cmbm\/scripts\/gaspari\/scheda.asp?id=2817<\/a>&gt;<\/p>\n<p class=\"bibliography\">Ruth DeFord, <em>Tactus, Mensuration, and Rhythm in Renaissance Music<\/em> (Cambridge, 2015)<\/p>\n<p class=\"bibliography\">Robert Dowland (ed.), <em>A Musicall Banquet<\/em> (London: John Benson and John Playford, 1610) (RISM 1610<sup>20<\/sup>)<\/p>\n<p class=\"bibliography\">J. Cheryl Exum, <em>Song of Songs: A Commentary<\/em>, The Old Testament Library (Louisville, KY, 2005)<\/p>\n<p class=\"bibliography\">Francesco da Milano and Pietro Paolo Borrono, <em>Intabulatura di lauto<\/em> <em>del divino Francesco da Milano, et dell\u2019eccellente Pietro Paulo Borrono da Milano<\/em> [\u2026] <em>libro secondo<\/em> (Venice: [Gerolamo Scotto], 1546) (RISM 1546<sup>30<\/sup>), &lt;<a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/8\/81\/IMSLP263476-PMLP427136-milano_intabolatura_de_lauto_2.pdf\">https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/8\/81\/IMSLP263476-PMLP427136-milano_intabolatura_de_lauto_2.pdf<\/a>&gt;<\/p>\n<p class=\"bibliography\">Girolamo Frescobaldi, <em>Toccate e partite d\u2019intavolatura di cimbalo<\/em> (Rome: Nicol\u00f2 Borboni, 1616)<\/p>\n<p class=\"bibliography\">Andrea Gabrieli, <em>Ricercari<\/em> [\u2026] <em>libro secondo<\/em> (Venice: Angelo Gardano, 1595), &lt;<a href=\"http:\/\/doi.org\/10.3931\/e-rara-56111\">http:\/\/doi.org\/10.3931\/e-rara-56111<\/a>&gt;<\/p>\n<p class=\"bibliography\">Andrea Gabrieli, <em>Il terzo libro de ricercari<\/em> (Venice: Angelo Gardano, 1596), &lt;<a href=\"https:\/\/doi.org\/10.3931\/e-rara-55399\">https:\/\/doi.org\/10.3931\/e-rara-55399<\/a>&gt;<\/p>\n<p class=\"bibliography\">Andrea Gabrieli, <em>S\u00e4mtliche Werke f\u00fcr Tasteninstrumente<\/em>, ed. Giuseppe Clericetti, 6\u00a0vols. (Vienna, 1997\u201399)<\/p>\n<p class=\"bibliography\">Luis G\u00e1sser, <em>Luis Mil\u00e1n on Sixteenth-Century Performance Practice<\/em> (Bloomington, 1996)<\/p>\n<p class=\"bibliography\"><em>Giles Earle&#8217;s Songbook<\/em>, GB-Lbl Add.\u00a024655<\/p>\n<p class=\"bibliography\">Hanns Haiden, <em>Musicale instrumentum reformatum<\/em> ([Nuremberg, 1610]) (VD17 12:651984X), &lt;<a href=\"https:\/\/nbn-resolving.org\/urn:nbn:de:bvb:22-jh.mus.d.1-3\">https:\/\/nbn-resolving.org\/urn:nbn:de:bvb:22-jh.mus.d.1-3<\/a>&gt;<\/p>\n<p class=\"bibliography\">Monika Holl, \u2018\u201cDer Musica Triumph\u201d \u2013 Ein Bilddokument von 1607 zur Musikauffassung des Humanismus in Deutschland\u2019, in: <em>Imago musicae<\/em> 3 (1986), 9\u201330<\/p>\n<p class=\"bibliography\">Edward Huws Jones, <em>The Performance of English Song, 1610\u20131670<\/em>, 2\u00a0vols. (New York, 1989)<\/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.\u00a01500\u20131700, selected manuscript sources including music by Claudio Merulo, and contemporary writings concerning notations\u2019, 2\u00a0vols., PhD thesis, University of Oxford, 1989<\/p>\n<p class=\"bibliography\">Orlando di Lasso, <em>Bicinia, sive cantiones suavissimae duarum vocum<\/em> (Antwerp: Pierre Phal\u00e8se and Jean Bell\u00e8re, 1590)<\/p>\n<p class=\"bibliography\">Orlando di Lasso, <em>Bicinia, sive cantiones suavissimae duarum vocum<\/em> (Antwerp: Pierre Phal\u00e8se, 1609)<\/p>\n<p class=\"bibliography\">Orlando di Lasso, <em>Novae aliquot et ante hac non ita usitatae cantiones suavissimae<\/em> (Munich: Adam Berg, 1577)<\/p>\n<p class=\"bibliography\">Lewis Lockwood, \u2018Text and Music in Rore\u2019s Madrigal \u201cAnchor che col partire\u201d\u2019, in: <em>Musical Humanism and its Legacy: Essays in Honor of Claude V. Palisca<\/em>, ed. Nancy Kovaleff Baker and Barbara Russano Hanning (Stuyvesant, NY, 1992), 243\u201351<\/p>\n<p class=\"bibliography\">Luzzasco Luzzaschi, <em>Madrigali<\/em> [\u2026] <em>per cantare et sonare<\/em> (Rome: Simone Verovio, 1601), &lt;<a href=\"https:\/\/lccn.loc.gov\/2008561305\">https:\/\/lccn.loc.gov\/2008561305<\/a>&gt;<\/p>\n<p class=\"bibliography\">Domen Marin\u010di\u010d, \u2018\u201cNow quickly, now again slowly\u201d: Tempo modification in and around Praetorius\u2019, in: <em>De musica disserenda<\/em> 15\/1\u20132 (2019), 47\u201369<\/p>\n<p class=\"bibliography\">Ascanio Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples: Costantino Vitale, 1603)<\/p>\n<p class=\"bibliography\">Claudio Merulo, <em>Libro secondo di canzoni d&#8217;intavolatura d&#8217;organo<\/em> (Venice: Angelo Gardano e fratelli, 1606)<\/p>\n<p class=\"bibliography\">Claudio Merulo, <em>Toccate d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro primo<\/em> (Venice: Simone Verovio, 1598), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00094272\">https:\/\/mdz-nbn-resolving.de\/details:bsb00094272<\/a>&gt;<\/p>\n<p class=\"bibliography\">Claudio Merulo, <em>Toccate d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro secondo<\/em> (Rome: Simone Verovio, 1604), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00094273\">https:\/\/mdz-nbn-resolving.de\/details:bsb00094273<\/a>&gt;<\/p>\n<p class=\"bibliography\">Luis Mil\u00e1n, <em>Libro de m\u00fasica de vihuela de mano intitulado El maestro<\/em> (Valencia: Francisco D\u00edaz Romano, 1536), &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000022795\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000022795<\/a>&gt;<\/p>\n<p class=\"bibliography\">Johann Nauwach, <em>Libro primo di arie, passegiate \u00e0 una voce<\/em> (Dresden, 1623)<\/p>\n<p class=\"bibliography\">Claude V. Palisca, <em>The Florentine Camerata: Documentary Studies and Translations<\/em> (New Haven, 1989)<\/p>\n<p class=\"bibliography\">Michael Praetorius, <em>Syntagma musicum<\/em> II (Wolfenb\u00fcttel, 1619) (VD17 3:315037M)<\/p>\n<p class=\"bibliography\">Bartolomeo Ramos de Pareja, <em>Musica practica<\/em> (Bologna: Baltasar de Hyrberia, 1482)<\/p>\n<p class=\"bibliography\">Christopher Reynolds, \u2018Alessandro Striggio\u2019s Analysis of Cipriano de Rore\u2019s \u201cAncor che col partire\u201d\u2019, in: <em>Journal of the Alamire Foundation<\/em> 9, no.\u00a02 (2017), 197\u2013218<\/p>\n<p class=\"bibliography\">Francesco Rognoni, <em>Selva de varii passaggi<\/em> (Milan: Filippo Lomazzo, 1620)<\/p>\n<p class=\"bibliography\">Riccardo Rognoni, <em>Passaggi per potersi essercitare Nel Diminuire terminatamente con ogni sorte d\u2019Instromenti<\/em> (Venice: Giacomo Vincenti, 1592), &lt;<a href=\"http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/7\/75\/IMSLP292311-PMLP474374-passaggi_etc_ricardo_ognoni_parte2.pdf\">http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/7\/75\/IMSLP292311-PMLP474374-passaggi_etc_ricardo_ognoni_parte2.pdf<\/a>&gt;<\/p>\n<p class=\"bibliography\">Bernhold Schmid, \u2018\u201cNec non Tyronibus qu\u00e0m eius artis peritioribus summopere inservientes.\u201d \u2013 Zur gedruckten \u00dcberlieferung von Lassos Bicinien\u2019, in: <em>Yearbook of the Alamire Foundation<\/em> 6 (2008), 177\u2013203<\/p>\n<p class=\"bibliography\"><em>The Fitzwilliam Virginal Book<\/em>, GB-Cfm, Mu. MS 168<\/p>\n<p class=\"bibliography\">Nicola Vicentino, <em>L\u2019antica musica ridotta alla moderna prattica<\/em> (Rome: Antonio Barre, 1555), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00103730\">https:\/\/mdz-nbn-resolving.de\/details:bsb00103730<\/a>&gt;<\/p>\n<p class=\"bibliography\">Nicola Vicentino, <em>Ancient Music Adapted to Modern Practice<\/em>, trans. Maria Rika Maniates, ed. Claude V. Palisca, Music theory translation series (New Haven, 1996)<\/p>\n<p class=\"bibliography\">Lodovico Zacconi, <em>Prattica di musica<\/em> (Venice: Bartolomeo Carampello, 1592)<\/p>\n<p class=\"bibliography\">Gioseffo Zarlino, <em>Le istitutioni harmoniche<\/em> (Venice: Francesco de Franceschi, 1558), &lt;<a href=\"https:\/\/digital.library.unt.edu\/ark:\/67531\/metadc25960\/\">https:\/\/digital.library.unt.edu\/ark:\/67531\/metadc25960\/<\/a>&gt;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Instances in Sixteenth-Century Keyboard Music Where Ornamentation and Changing Note Values Might Induce the Player to Vary the Beat Domen Marin\u010di\u010d Several sources from the second half of the 16th century mention changing the measure or varying the beat within pieces. One of the best known is Nicola Vicentino\u2019s book of 1555 with its reference &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-2836","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>\u2018Nach seinem selbst gefallen mit der Mensur wexln\u2019 &#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\/mdwp003-ornamentation-note-values\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Nach seinem selbst gefallen mit der Mensur wexln\u2019 &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Instances in Sixteenth-Century Keyboard Music Where Ornamentation and Changing Note Values Might Induce the Player to Vary the Beat Domen Marin\u010di\u010d Several sources from the second half of the 16th century mention changing the measure or varying the beat within pieces. 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