{"id":7749,"date":"2026-07-06T15:18:43","date_gmt":"2026-07-06T13:18:43","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=7749"},"modified":"2026-07-06T16:10:11","modified_gmt":"2026-07-06T14:10:11","slug":"mdwp017-002","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-002\/","title":{"rendered":"Further Notions of Notation"},"content":{"rendered":"<h2 class=\"subtitle\">Performance Practice, Composition, and Notational Formats in Neapolitan Keyboard Music ca.&#160;1600<\/h2>\n<h3 class=\"author\"><em>Ian Pritchard<\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation 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#table001 thead th {\n    text-align: left 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id=\"zp-ID-7749-4511395-ZF8U697U\" data-zp-author-date='Pritchard-2026' data-zp-date-author='2026-Pritchard' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Pritchard, Ian. 2026. \u201cFurther Notions of Notation: Performance Practice, Composition, and Notational Formats in Neapolitan Keyboard Music ca. 1600.\u201d In <i>\u2018Per Aures Ad Animum\u2019. The Harpsichord in the Sixteenth Century II: Italy<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.21939\/harpsichord-italy-16c'>https:\/\/doi.org\/10.21939\/harpsichord-italy-16c<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=ZF8U697U' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">Intabulation as Performance<\/a><br \/>\n<a href=\"#2\">An Aside: Considerations of Performers in the Present-Day<\/a><br \/>\n<a href=\"#3\">Literal Intabulations<\/a><br \/>\n<a href=\"#4\"><em>Intavolatura<\/em> and Open Scores: a Comparison of Notational Influence<\/a><br \/>\n<a href=\"#5\">Notating the Neapolitan <em>Madrigale Passaggiato<\/em><\/a><br \/>\n<a href=\"#6\">Sounding Objects and Improvisation<\/em><\/a><br \/>\n<a href=\"#7\">Notational Ironies<\/a><br \/>\n<a href=\"#8\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<blockquote>\n<p class=\"tsquotation\">\u2018Partite artificiose sopra il Tenor de Zefiro con alcune Partite approportionate per l\u2019Arpa, havertendo per\u00f2, che se in questo presente libro st\u00e0 intitolate alcune cose per l\u2019Arpa, non per questo si soprasedisca il Cimbalo, perche il Cimbalo \u00e8 Signor di tutti l\u2019istromenti del mondo, &amp; in lei si possono sonare ogni cosa con facilit\u00e0.\u2019<\/p>\n<p class=\"tsquotation\">(\u2018<em>Partite artificiose<\/em> on the tenor of <em>Zefiro<\/em>, with some variations allocated for the harp. However, that some items in this book are designated for the harp does not mean to supersede performance on the harpsichord, as the harpsichord is the Lord of all instruments of the world, and on it one can play anything with ease.\u2019)<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span><\/p>\n<\/blockquote>\n<p>With this statement, Giovanni Maria Trabaci clearly indicates that all of the music published in his printed volume, <em>Il<\/em> <em>secondo libro de ricercate, &amp; altri varij capricci <\/em>(Naples, 1615) should be playable \u2013 and <em>con facilit\u00e0 <\/em>at that<em> \u2013 <\/em>on a harpsichord. However, as many a modern performer knows, this isn\u2019t necessarily the case. The point was dramatically illustrated in a recent YouTube performance by the Italian harpsichordist Marco Mencoboni of the <em>Toccata prima \u00e0 quattro<\/em>, in which the performer uses his nose to cover a middle part that is simply not executable with two hands.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> (See Ex.&#160;1 for some particularly treacherous excerpts.)<\/p>\n<p>\t\t\t<span class=\"caption-text\"><b>Ex.&#160;1a\u2013d<\/b>: Passages in early Neapolitan keyboard music that are difficult to play with two hands. The music, originally printed in open score, has been transcribed into modern keyboard notation, with stem directions reflective of the parts in the open score (e.g. the tenor is notated on the bottom staff with upward stems).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-scaled.jpg\" alt=\"Four excerpts in modern keyboard notation showing passages that are technically demanding to play with two hands. Each example features rapid arpeggiated figures, overlapping hand positions, and wide leaps across the keyboard, demonstrating the challenges of condensing multi-voice polyphonic textures into a two-staff format. The notational layout emphasizes the continuous motion and complex hand coordination required to perform such passages.\" width=\"2560\" height=\"515\" class=\"alignnone size-full wp-image-7767\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-300x60.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-1024x206.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-150x30.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-768x154.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-1536x309.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-2048x412.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1a-850x171.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>a)<\/b> The passage for which Mencoboni used his nose in performance: Giovanni Maria Trabaci, \u2018Toccata Prima \u00e0 Quattro\u2019, mm.&#160;32\u201337, transcribed from Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci<\/em> (Naples, 1615), facs. repr. (Florence, 1984), 82\u20134.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-scaled.jpg\" alt=\"\" width=\"2560\" height=\"599\" class=\"alignnone size-full wp-image-7768\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-300x70.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-1024x240.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-150x35.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-768x180.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-1536x359.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-2048x479.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1b-850x199.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>b)<\/b> Ascanio Mayone, \u2018Canzon Francese terza\u2019, mm.&#160;34\u201335, transcribed from Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples: Constantino Vitale, 1603), 22\u20136, <a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/501050\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/501050<\/span><\/a> (accessed on 31&#160;Oct. 2024).<\/b><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-scaled.jpg\" alt=\"\" width=\"2560\" height=\"509\" class=\"alignnone size-full wp-image-7769\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-300x60.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-1024x203.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-150x30.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-768x153.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-1536x305.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-2048x407.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1c-850x169.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>c)<\/b> Giovanni de Macque, \u2018Partite sopra Ruggiero di Gio. Macque\u2019, mm.&#160;68\u201374, transcribed from GB-Lbl Add. 30491, fol.&#160;4<span class=\"Hochgestellt\">v<\/span>-6<span class=\"Hochgestellt\">v<\/span>.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-scaled.jpg\" alt=\"\" width=\"2560\" height=\"540\" class=\"alignnone size-full wp-image-7761\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-300x63.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-1024x216.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-150x32.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-768x162.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-1536x324.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-2048x432.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-1d-850x179.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>d)<\/b> Ascanio Mayone et al., \u2018lo mi son giovinetta del Ferabosco diminuito per sonare da Scipione Stella, Gio. Dom. Montella, Ascanio Mayone\u2019, mm.&#160;9\u201311, transcribed from Mayone, <em>Secondo libro di diversi capricci per sonare <\/em>(Naples: Giovanni Battista Gargano &amp; Lucretio Nucci, 1609), 68\u201378, <a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/462582\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/462582<\/span><\/a> (accessed on 31&#160;Oct. 2024).<\/span><\/p>\n<p>Awkward sustained notes, which if actually held in performance make passage-work in other voices impossible to execute, are usually the primary culprits, but other elements include an overall density of texture (largely created by active inner voices that fully participate in the contrapuntal fabric), large intervals between parts that are at best awkward \u2013 or at worst impossible \u2013 to execute (unless, of course, the performer uses their nose), and dense polyphony generated through highly-elaborate <em>passaggi<\/em> and the close imitation of diminution figures. In general, the music often seems to depart from the stylistic \u2018norms\u2019 of 16th-century Italian keyboard music, norms that I will identify in this article as \u2018idiomatic\u2019, as opposed to the unidiomatic style of the Neapolitans (as demonstrated in Ex.&#160;1). These are closely linked to the experiential act of playing, what Leon Chisholm has described as \u2018the haptic sensation of the fingers on the keyboard\u2019, and, of course, the broader unwritten traditions of 16th-century keyboardists in Italy.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span> Much of this music betrays a polar attraction to the upper and lower ends of the texture \u2013 the treble and bass \u2013 and therefore foreshadows the soon-nascent Baroque style. In contrast, in the music of the Neapolitan school the middle parts (the <em>parti di mezzo<\/em>) often assume equal importance to the outer ones.<\/p>\n<p>While the musical features that I just highlighted can be seen to be purely stylistic concerns, I wonder if the printing format the Neapolitans used might have also encouraged some of the difficulties in their music. Instead of using <em>intavolatura \u2013 <\/em>the most common format used for keyboard music by publishers and scribes on the Italian peninsula in the 16th and 17th centuries \u2013 Trabaci and colleagues largely published (and copied) their music in full open score<em>.<\/em><span class=\"Hochgestellt_footnote\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> As I have argued elsewhere, the notational conventions of Italian<em> intavolatura<\/em> directly influence aspects of the music on the page; describing intabulation more broadly, Victor Coelho portrays the intabulation process as a kind of translation, analogous to literary translation.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> I will here argue that the open score formatmight have a similar translative effect, or rather an opposite one, leading composers to adopt <em>less <\/em>idiomatic textures as well as compositional styles that foreground contrapuntal complexity.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/span><\/span> <\/p>\n<p>A relationship between contrapuntal complexity and printed open scores around 1600 was the focus of a recent article by Anthony Newcomb.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span> Newcomb highlights several volumes published in the decades around 1600 \u2013 including Trabaci\u2019s 1615 <em>Capricci \u2013 <\/em>as foreshadowing a much later concept of the musical \u2018work\u2019, one in which \u2018the notation on the page is complete and prescriptive, representing the essence of a piece\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> These scores are therefore demonstrative of a shift, both in function and in reception, from practice to object.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/span> In Newcomb\u2019s formulation, the open-score format and the level of musical complexity aid and abet each other; the open-score format \u2018stimulated the increasing complexity of contrapuntal artifice that can be read from the page [\u2026]. This complexity in turn affects the prescriptive authority of the musical elements presented in readable form by the notation on each page.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/span><\/span> Newcomb intertwines his argument using three threads, the first that these prints were intended for a particular mode of reception, a kind of \u2018silent reading\u2019 practiced by the part of the \u2018cultural and social elite of the late 16th and early 17th centuries\u2019, the second that the music was representative of the very height of an esoteric and highly<em> artificioso <\/em>compositional style,and the third that the prints were a remarkably early manifestation of the \u2018autonomous\u2019 musical \u2018work\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/span><\/span> This would fly in the face of normally-understood conceptions regarding the ontological status of early modern scores.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/span><\/span> Crucially, any alteration of the music would \u2018destroy\u2019 the \u2018very identity of the piece\u2019:<\/p>\n<blockquote>\n<p class=\"tsquotation\">I propose as a corollary of this complexity that the pitches and rhythms of the individual voices specified in the notation of such pieces were for the time unusually fixed and prescriptive. One could not and did not vary these elements in performance by such procedures as conflation or subtractions of voices, extraction of individual voices and\/or revisions of the contrapuntal complex without destroying this structure, the very identity of this piece. One would not do this to this kind of piece, any more than one would fiddle with the mechanism of a complicated time-piece in a sophisticated patron\u2019s <em>Kunstkammer<\/em>. On the other hand, the looser and less <em>artificioso<\/em> the counterpoint, and the more flexible the attitude toward the inner parts, the more amenable other sorts of pieces would be to various performing versions.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/span><\/span><\/p>\n<\/blockquote>\n<p>The printed volumes that form the nucleus of Newcomb\u2019s argument are in two genres, the madrigal and the instrumental ricercar. Ricercars were, of course, in the domain of the keyboardist, and with this we return to Trabaci\u2019s music and its performance challenges.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/span><\/span> Performing Trabaci\u2019s music would be all the more difficult if one \u2018could not and did not vary these elements [i.e. the notation] in performance by such procedures as conflation or subtractions of voices, extraction of individual voices and\/or revisions of the contrapuntal complex\u2019. And logically, Newcomb\u2019s formulation should not only apply to Trabaci\u2019s volume and the other instrumental music in open score that he describes, but to the music of the entire post-Macque Neapolitan school \u2013 the majority of which was notated in open score \u2013 including that of Trabaci\u2019s colleague Ascanio Mayone, that of their probable<em> maestro <\/em>Giovanni de Macque, and that of the other Neapolitan composers found in sources such as Gb-Lbl Add. 30491, all of which is notably difficult to play exactly as written.<\/p>\n<p>The unidiomatic textures and performance difficulties would therefore seem to go hand in hand with Newcomb\u2019s \u2018notions of notation\u2019: that this music was on some level not intended for performance, but to be contemplated or silently read. However, it is also of course well accepted that open scores were a common notational format used by keyboard players in the 16th and 17th centuries.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/span><\/span> That this is the case would imply a kind of dual functionality held by these scores: they serve as practical scores for keyboardists to play from, but they also facilitate \u2018silent reading\u2019, to \u2018recognize and appreciate unusual examples of musical artifice in the notation on the page.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/span><\/span> This is made explicit by the title page of Gardano\u2019s well-known print of Rore\u2019s four-part madrigals \u2018spartiti et accommodati\u2019 to play on perfect instruments such as keyboards (\u2018sonar d\u2019ogni sorte d\u2019Istrumento perfetto\u2019), which is also indicated for the study of the counterpoint (\u2019per Qualunque studioso di Contrapunti.\u2019).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/span><\/span> This volume, which presents a collection of Rore\u2019s madrigals without text and in open score, is indicated as an early example of the \u2018objectified score\u2019 by Newcomb.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/span><\/span> In addition to being evidence of this sort of \u2018objectification\u2019, however, Trabaci\u2019s 1615 <em>Capricci <\/em>also carries clear practical performance indications.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/span><\/span> Many of the genres in this volume \u2013 and, for that matter, in Trabaci\u2019s other volume of keyboard music, the <em>Ricercate canzone francese capricci <\/em>[\u2026]<em> libro primo <\/em>(1603)<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/span><\/span> and the two volumes by his colleague Ascanio Mayone \u2013 contain music in genres with clear functional roles, most notably the \u2018cento\u2019 liturgical versets. Trabaci\u2019s 1615 print, cited by Newcomb for its distance from performance with its famous <em>Tavola dei passi et delle cose piu notabile<\/em> (and accompanying signs in the musical text, to highlight the specific instances of complexity and cleverness), is also filled with performance indications such as <em>allarga la battuta<\/em>,preciseindication for dynamics (in the harp pieces), and lengthy instructions on how to execute particular ornamental figures.<\/p>\n<h4 id=\"1\">Intabulation as Performance<\/h4>\n<p>It would therefore seem clear that volumes like Trabaci\u2019s (or Gardano\u2019s Rore madrigal print) indicated dual functions. On the one hand, they fit Newcomb\u2019s ideal of the \u2018objectified score\u2019 around 1600; on the other hand, they also have a more practical, performance orientation. For Italian keyboard music in the 16th century, much data regarding the latter consideration can be found in the extant keyboard intabulations in organ or harpsichord <em>intavolatura<\/em>, which reflect performances practices recorded by the intabulation process itself. A handful of intabulations of works that were originally published in open score, and which meet Newcomb\u2019s criteria of the \u2018presentation of complex polyphony as a visually readable object on the page using the format of the open score\u2019,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/span><\/span> are extant; these include an intabulation of one of Trabaci\u2019s versets from the <em>Secondo libro <\/em>(Tab.&#160;1). To partially expand upon this small list, in Tab.&#160;2 I list intabulations of music found in printed or manuscript open scores, that date after their original publication in part-book format (for these, a <em>direct<\/em> relationship between open score and intabulation cannot be assumed). <\/p>\n<table id=\"table001\" class=\"au_tabelle\">\n<colgroup>\n<col \/>\n<col \/>\n<col \/>\n<col \/>\n<col \/>\n<col \/>\n\t\t\t\t<\/colgroup>\n<thead>\n<tr class=\"au_tabelle\">\n<th class=\"au_tabelle Kopf Kopf\" scope=\"col\">\n<p class=\"Tabelle\"><b>Source of Intabulation<\/b><\/p>\n<\/th>\n<th class=\"au_tabelle Kopf Kopf\" scope=\"col\">\n<p class=\"Tabelle\"><b>Composer<\/b><\/p>\n<\/th>\n<th class=\"au_tabelle Kopf Kopf\" scope=\"col\">\n<p class=\"Tabelle\"><b>Work Intabulated<\/b><\/p>\n<\/th>\n<th class=\"au_tabelle Kopf Kopf\" scope=\"col\">\n<p class=\"Tabelle\"><b>Original Printed Source (in Open Score)<\/b><\/p>\n<\/th>\n<th class=\"au_tabelle Kopf Kopf\" scope=\"col\">\n<p class=\"Tabelle\"><b>Publishing Information for Original Source<\/b><\/p>\n<\/th>\n<th class=\"au_tabelle Kopf Kopf\" scope=\"col\">\n<p class=\"Tabelle\"><b>Comments<\/b><\/p>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">I-Nc Ms. Mus. st. 48, fol.&#160;33<span class=\"Hochgestellt\">v<\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"> Trabaci<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Verso nono, <\/p>\n<p class=\"Tabelle\">Sesto tono<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Il secondo libro de ricercate, &amp; altri varij capricci<\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Naples: Giovanni Giacomo Carlino, 1615<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\" \/>\n\t\t\t\t\t<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">V-CVbav Chig.Q.IV.29, fol.&#160;50<span class=\"Hochgestellt\">v<\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Frescobaldi<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Ricercar terzo<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Recercari, et canzoni franzese <\/em>[\u2026]<em> libro primo<\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Rome: Bartolomeo Zannetti, 1615<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Four-bar fragment<\/p>\n<\/td>\n<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">I-RAc MS Classense 545, fol.&#160;27<span class=\"Hochgestellt\">r<\/span>\u201330<span class=\"Hochgestellt\">v<\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Frescobaldi<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Capriccio sopra un soggetto<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Il primo libro di capricci <\/em>[\u2026]<em> in partitura <\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Rome: Luca Antonio Soldi, 1624<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\" \/>\n\t\t\t\t\t<\/tr>\n<tr class=\"au_tabelle\">\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">I-RAc MS Classense 545, fol.&#160;22<span class=\"Hochgestellt\">v<\/span>\u201326<span class=\"Hochgestellt\">v<\/span><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Frescobaldi<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Capriccio sopra Il Cucho<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\"><em>Il primo libro di capricci <\/em>[\u2026]<em> in partitura <\/em><\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\">\n<p class=\"Tabelle\">Rome: Luca Antonio Soldi, 1624<\/p>\n<\/td>\n<td class=\"au_tabelle Zeilen\" \/>\n\t\t\t\t\t<\/tr>\n<\/tbody>\n<\/table>\n<p class=\"caption-text\"><b>Table 1:<\/b> Intabulations of pieces originally printed in open scores that meet the criteria of Newcomb\u2019s framing of the \u2018presentation of complex polyphony as a visually readable object on the page using the format of the open score\u2019.<\/p>\n<table class=\"abbrev\">\n<tbody>\n<tr>\n<td><b>Source of Intabulation<\/b><\/td>\n<td>I-Fmba Ms. 967 (\u2018Bardini Codex\u2019)<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/span><\/span>, fol.&#160;81<span class=\"Hochgestellt\">v<\/span>\u201388<span class=\"Hochgestellt\">r<\/span>, 105<span class=\"Hochgestellt\">r<\/span>\u2013109<span class=\"Hochgestellt\">v<\/span><\/td>\n<\/tr>\n<tr>\n<td><b>Composer<\/b><\/td>\n<td>Cipriano de Rore<\/td>\n<\/tr>\n<tr>\n<td><b>Works Intabulated<\/b><\/td>\n<td>\u2018A la dolc\u2019ombra\u2019, \u2018Non vide\u2019l mondo\u2019, \u2018Un lauro mi difese\u2019, \u2018Per\u00f2 pi\u00f9 ferm\u2019ogn\u2019hor\u2019, \u2018Selve sassi\u2019, \u2018Carita de Signore\u2019, \u2018La giustizia immortale\u2019, \u2018Amor ben mi credevo\u2019<\/td>\n<\/tr>\n<tr>\n<td><b>Original Printed Source<\/b><\/td>\n<td>Rore, <em>Il primo libro de madrigali a quatro voci<\/em> (Ferrara: Giovanni De Buglhat &amp; Antonio Hucher, 1550)<\/td>\n<\/tr>\n<tr>\n<td><b>Later Full Score Version<\/b><\/td>\n<td>Rore, <em>Tutti i madrigali a quattro voci <\/em>(Venice, 1577)<\/td>\n<\/tr>\n<tr>\n<td><b>Comment<\/b><\/td>\n<td>Gardano\u2019s famous print issue of Rore\u2019s madrigals in open score might not fulfill Newcomb\u2019s notion of \u2018complex polyphony\u2019, but he cites it as an example of full-score being used for the study of counterpoint.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/span><\/span><\/td>\n<\/tr>\n<tr>\n<td><b>Sources of Intabulation<\/b><\/td>\n<td>I-CARcc fasc. 4a, 14; I-Fl Ms. Acquisti e Doni 641, 6<span class=\"Hochgestellt\">v<\/span>\u20137<span class=\"Hochgestellt\">v<\/span>; D-Mbs Mus. Ms. 9437, 18<span class=\"Hochgestellt\">v<\/span>; I-TRmp [n.s.], 69<span class=\"Hochgestellt\">v<\/span>\u201372<span class=\"Hochgestellt\">r<\/span>; Andrea Gabrieli, <em>Il terzo libro de ricercari <\/em>(Venice: Angelo Gardano, 1596), fol.&#160;32<span class=\"Hochgestellt\">r<\/span>-34<span class=\"Hochgestellt\">r<\/span><\/td>\n<\/tr>\n<tr>\n<td><b>Composer<\/b><\/td>\n<td>Cipriano de Rore<\/td>\n<\/tr>\n<tr>\n<td><b>Work Intabulated<\/b><\/td>\n<td>\u2018Anchor che co\u2019l partire\u2019<\/td>\n<\/tr>\n<tr>\n<td><b>Original Printed Source<\/b><\/td>\n<td>Rore, <em>Il primo libro de madrigali a quatro voci<\/em> (Ferrara, 1550)<\/td>\n<\/tr>\n<tr>\n<td><b>Later Full Score Version<\/b><\/td>\n<td>Rore, <em>Tutti i madrigali a quattro voci <\/em>(Venice, 1577)<\/td>\n<\/tr>\n<tr>\n<td><b>Source of Intabulation<\/b><\/td>\n<td>I-CARcc fasc. 10<\/td>\n<\/tr>\n<tr>\n<td><b>Composer<\/b><\/td>\n<td>Florentio Maschera<\/td>\n<\/tr>\n<tr>\n<td><b>Works Intabulated<\/b><\/td>\n<td>17 canzonas<\/td>\n<\/tr>\n<tr>\n<td><b>Original Printed Source<\/b><\/td>\n<td>Maschera, <em>Libro primo de canzoni da sonare, a quattro voci<\/em> (Brescia: Vincenzo Sabbio, 1584)<\/td>\n<\/tr>\n<tr>\n<td><b>Later Full Score Versions<\/b><\/td>\n<td>B-Bc ms 26660; I-Bc ms 2208; US-Wc M1490.M39, &lt;<a href=\"https:\/\/lccn.loc.gov\/2011560474\"><span class=\"Hyperlink\">https:\/\/lccn.loc.gov\/2011560474<\/span><\/a>&gt;<\/td>\n<\/tr>\n<tr>\n<td><b>Comment<\/b><\/td>\n<td>Maschera\u2019s collection \u2013 which was extremely popular \u2013 exists in no fewer than three manuscript copies in open score.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/span><\/span><\/td>\n<\/tr>\n<tr>\n<td><b>Source of Intabulation<\/b><\/td>\n<td>Sperindio Bertoldo, <em>Toccate, ricercari et canzoni francese intavolate per sonar d\u2019organo<\/em> (Venice: Giacomo Vincenti, 1591), 15\u20139, 20\u20133, &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/263347\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/263347<\/span><\/a>&gt; (accessed on 30&#160;Sept. 2024)<\/td>\n<\/tr>\n<tr>\n<td><b>Composer<\/b><\/td>\n<td>Annibale Padovano<\/td>\n<\/tr>\n<tr>\n<td><b>Works Intabulated<\/b><\/td>\n<td>\u2018Ricercar del Primo Tono\u2019, \u2018Ricercar del Terzo Tono\u2019<\/td>\n<\/tr>\n<tr>\n<td><b>Original Printed Source<\/b><\/td>\n<td>Padovano, <em>Il primo libro de ricercari a quattro voci<\/em> (Venice: Antonio Gardano, 1556), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/676174\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/676174<\/span><\/a>&gt; (accessed on 30&#160;Sept. 2024)<\/td>\n<\/tr>\n<tr>\n<td><b>Later Full Score Version<\/b><\/td>\n<td>B-Bc ms 26661<\/td>\n<\/tr>\n<tr>\n<td><b>Comment<\/b><\/td>\n<td>Bertoldo\u2019s two intabulations of ricercars from Padavano\u2019s 1556 publication are truncated.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><span class=\"caption-text\"><b>Table 2:<\/b> Intabulations of pieces not originally published in open score \u2013 and, for which, therefore, a direct relationship between original source and intabulation cannot be inferred \u2013 but that also appear in later sources in open score.<\/span><\/p>\n<p>Intabulation in any particular format entailed following a set of guiding notational conventions as well as specific transcriptive processes; together, these reflect the actions and traditions of keyboard performance.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/span><\/span> The notational conventions were rooted in performance practices, and the overall effect was one of musical-stylistic translation, from \u2018<em>polyphonisch\u2019<\/em> to <em>keyboardian<\/em>. Crucially, not only does Italian keyboard<em> intavolatura <\/em>hide polyphonic detail in its process of \u2018translation\u2019, but the intabulation process itself often entailed the possibility of altering the musical text, both in order to make the music playable on the keyboard and to sit more idiomatically on the instrument. In Italian keyboard<em> intavolatura<\/em>, these alterations \u2013 more commonly but certainly not exclusively made to the inner voices, the <em>parti di mezzo \u2013 <\/em>not only \u2018fix\u2019 issues such as overly wide intervals between voices, but also create textures closer to the <em>cinquecento <\/em>stylistic norms described earlier. This process is clearly described in Diruta\u2019s well-known section on intabulation in<em> Il Transilvano<\/em>, but it is also observable in extant intabulations; in fact, many of the intabulations show that Diruta was quite conservative in his advice, at least as stated in his text.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/span><\/span> In addition to <em>changing <\/em>notes, it was equally possible \u2013 perhaps more common \u2013 to simply remove them when necessary.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/span><\/span><\/p>\n<p>This is perhaps most observable in what I will identify as elaborate intabulations, intabulations that are highly ornamented and that seem to be intended for solo performance. Elaborate intabulations entailed the addition of highly extensive <em>passaggi<\/em>, and substantial alterations were often employed to accommodate them (see Ex.&#160;2). The alterations could go beyond small momentary changes (such as removing wide intervals between individual voices) to outright recomposition; for example, to accompany a <em>passaggio<\/em>, the other voices were often completely reworked to create chords. Therefore, elaborate intabulations often \u2018default\u2019 to idiomatic keyboard textures seen in \u2018free\u2019 (i.e., ostensibly model-less) genres like toccatas and dances, in which simple chordal figuration in one hand accompanies elaborate diminutions in the other. The overlap between these intabulations and free genres links the intabulation process to the broader unwritten practices of cinquecento keyboard players.<\/p>\n<p><span class=\"caption-text\"><b>2a\u2013b:<\/b> Two excerpts demonstrating the extent of alteration in elaborate intabulations.<\/span><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2a.png\" alt=\"Musical examples showing the transformation of a vocal composition into an instrumental intabulation. The upper ystem presents the original polyphonic vocal score with multiple staves and text underlay, while the lower system shows a keyboard realization in modern notation. The keyboard part contains added ornamentation, rhythmic elaboration, and passagework, illustrating how performers embellished and adapted vocal lines for instrumental performance.\" width=\"1279\" height=\"607\" class=\"alignnone size-full wp-image-7762\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2a.png 1279w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2a-300x142.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2a-1024x486.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2a-150x71.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2a-768x364.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2a-850x403.png 850w\" sizes=\"auto, (max-width: 1279px) 100vw, 1279px\" \/><br \/>\n<span class=\"caption-text\"><b>a)<\/b> Anon. intabulation (bottom staves) of Alessandro Striggio\u2019s \u2018Nasce la pena mia\u2019 (top staves), mm.&#160;22\u201325, in: I-Fl Ms. Acquisti e Doni&#160;641, fol.&#160;25<span class=\"Hochgestellt\">v<\/span>\u201328<span class=\"Hochgestellt\">v<\/span>.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-scaled.png\" alt=\"Musical examples showing the transformation of a vocal composition into an instrumental intabulation. The upper system presents the original polyphonic vocal score with multiple staves and text underlay, while the lower system shows a keyboard realization in modern notation. The keyboard part contains added ornamentation, rhythmic elaboration, and passagework, illustrating how performers embellished and adapted vocal lines for instrumental performance.\" width=\"2560\" height=\"1595\" class=\"alignnone size-full wp-image-7763\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-300x187.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-1024x638.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-150x93.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-768x478.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-1536x957.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-2048x1276.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-2b-850x529.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>b)<\/b> Anon. intabulation of Lassus\u2019 \u2018Susanne un jour\u2019 (<em>Susanna<\/em>), mm.&#160;34\u201336, in: I-TRmp [n.s.] (\u2018Feininger manuscript\u2019), fol.&#160;39<span class=\"Hochgestellt\">v<\/span>\u201344<span class=\"Hochgestellt\">r<\/span>.<\/span><\/p>\n<h4 id=\"2\">An Aside: Considerations of Performers in the Present-Day<\/h4>\n<p>Elaborate ornamentation \u2013 extreme and often avant-garde \u2013 was a hallmark of the Neapolitan style, and is certainly a factor in making the music difficult to play. A modern player performing the music might consider intabulating it, either materially on paper, or by the following the same processes spontaneously and without paper \u2013 a kind of hypothetical <em>intavolatura alla mente<\/em>.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/span><\/span> Following the model given by extant intabulations, intabulating this music would entail altering and reworking the counterpoint as necessary in a fairly bold manner, prioritizing the <em>soggetti <\/em>(in imitative genres) and the <em>passaggi <\/em>over the accompanying voices. \u2018Reworking\u2019 accompanying voices could entail either changing the notes to create friendlier intervals, as Diruta suggests, or omitting them entirely, as commonly seen in extant elaborate intabulations. This is challenging, however, given that one must choose which notes to keep and which to recompose or omit. One might again turn to Diruta for advice, who clearly prioritizes the <em>fuga <\/em>or subject in an imitative work, advising to preserve the <em>fuga <\/em>and alter the accompanying voices.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/span><\/span> In elaborate intabulations, the <em>passaggi <\/em>take precedence over the accompanying voices (or chords), echoing the hierarchy of musical elements implied by Diruta (<em>fuga <\/em>versus non-imitative material), and the intabulator would be wise to prioritize both <em>fuge <\/em>and <em>passaggi <\/em>over \u2018accompanimental\u2019 material. While I suspect that many modern performers on early keyboard instruments do indeed quietly alter the musical text when performing the music of Mayone or Trabaci \u2013 in particular, releasing sustained notes earlier than notated, which naturally decay on a plucked keyboard instrument \u2013 I would argue that they are, broadly speaking, far too conservative in their willingness to do so. Ironically, this speaks to the power of the 19th-century concepts of a musical work that Newcomb identifies these prints as foreshadowing.<\/p>\n<h4 id=\"3\">Literal Intabulations<\/h4>\n<p>The intabulations listed in Tab.&#160;1 \u2013 extant intabulations of pieces from volumes discussed in Newcomb\u2019s article \u2013 are largely what we might call \u2018simple\u2019 or \u2018literal\u2019 intabulations, in that they transcribe their material without the addition of <em>passaggi.<\/em> They also strive to maintain the musical texts of their models.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/span><\/span> They therefore don\u2019t seem particularly useful as models for the would-be intabulator of Newcomb\u2019s open-score keyboard music, but seem to reinforce Newcomb\u2019s notion regarding the prescriptive nature of their open-score texts \u2013 one would not be \u2018allowed\u2019to alter these texts in intabulating or performing them. However, even in a literal intabulation the intabulation process automatically exerts a sort of translative effect. As I discussed extensively in my article for the previous volume of this series, the conventions of <em>intavolatura<\/em>, working in tandem with the intabulation process, would visually obscure voice leading automatically (I use the analogy of the algorithm in popular concepts of computing) as a byproduct of the intabulator following the conventions of the notation.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a><\/span><\/span> <\/p>\n<p>Therefore, even if the notes are technically shared between an intabulation and a version of a piece in open score (or partbooks), the intabulation still implies an alternate polyphonic construction. This can be seen in an intabulation of one of Trabaci\u2019s versets found in I-Nc 48<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a><\/span><\/span> (Ex.&#160;3). While largely preserving the polyphony of the original verset (not withstanding a few errors), the algorithmic processes obscure voice leading; this is largely driven by the fact that the two staves of the tablature prescribed the notes to be played by each hand, and by the fact that stem direction is dictated by a note\u2019s vertical placement in the staff, not by virtue of belonging to a specific polyphonic voice. As the processes of intabulation overlap with the conventions that define the notational system, the voice-leading is obscured. This is clearly observable in mm.&#160;4\u20136, when tracing the contour of the alto part, which migrates from the bottom staff to the top. The choice of which notes go in which staff is largely dictated by what is playable; thus, the soprano, alto, and tenor are all moved to the top staff in m.&#160;6. The process of intabulation \u2013 here without altering any notes in the original score \u2013 can be viewed as a window upon the keyboardist\u2019s mental image of the polyphony actively being translated.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-scaled.png\" alt=\"A musical example comparing the original vocal polyphony with its keyboard intabulation. The upper system shows the vocal parts in open score with text underlay, while the lower system presents a keyboard version in modern notation. The keyboard realization introduces added ornamentation, rhythmic elaboration, and virtuosic passagework, illustrating the degree of transformation typical of elaborate intabulations. Red arrows are used to show the contours of the original voice leading.\" width=\"2348\" height=\"2560\" class=\"alignnone size-full wp-image-7764\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-scaled.png 2348w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-275x300.png 275w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-939x1024.png 939w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-138x150.png 138w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-768x837.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-1409x1536.png 1409w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-1878x2048.png 1878w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-3-marked-850x927.png 850w\" sizes=\"auto, (max-width: 2348px) 100vw, 2348px\" \/><\/p>\n<p><span class=\"caption-text\"><b>Example 3:<\/b> Anon. intabulation, entitled \u2018Verso 6 tuono d. Trabace\u2019, of the \u2018Verso Nono, Sesto Tono\u2019, mm.&#160;1\u20138,from Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci <\/em>(Naples, 1615), 69. Intabulation (bottom staves), transcribed from I-Nc Ms. Mus. st. 48, fol.&#160;33<span class=\"Hochgestellt\">v<\/span>. Red arrows show the contour of the original voice leading in instances in which the <em>intavolatura <\/em>obscures it. The upper staves are transcribed from Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci <\/em>(Naples, 1615), facs. repr. (Florence, 1984), 69.<\/span><\/span> <\/p>\n<p>Two extant intabulations from Frescobaldi\u2019s 1624 <em>Il primo libro di capricci fatti sopra diversi soggetti, et arie in partitura <\/em>in I-Rac MS Classense 545 show similar tendencies. Ex.&#160;4 shows four instances extracted from the <em>Capriccio sopra un soggetto<\/em>. The rule that any note\u2019s stem is determined by its vertical placement routinely gives the false impression of alternative voices and voice leading (creating what I call, after Alexander Silbiger\u2019s concept of \u2018fictitious rests\u2019, <em>fictitious voices<\/em>); notes are distributed between the two staves in a way that reflects the way they fall comfortably under the hand; rests and unisons are omitted (Ex. 4b, m.&#160;54; see especially Ex.&#160;4d).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a><\/span><\/span> Without having recourse to Frescobaldi\u2019s print with its open score format, some of the voice-leading would need to be inferred. And, although the intabulator again strives to preserve the musical text, the line between visual realignment of voice leading through fictitious tablature voices and actual alteration of the musical text is occasionally blurred.<\/p>\n<p><span class=\"caption-text\"><b>Example 4a\u2013d:<\/b> Anon. intabulation of Frescobaldi\u2019s <em>Capriccio sopra un soggetto <\/em>(1624), transcribed from I-RAc MS Classense 545 (bottom staves), fol.&#160;27<span class=\"Hochgestellt\">r<\/span>\u201330<span class=\"Hochgestellt\">v<\/span>. Top staves transcribed from Frescobaldi, <em>II primo libro di capricci<\/em> [\u2026]<em> in partitura <\/em>(Rome: Luca Antonio Soldi, 1624), 69\u201377, <a href=\"https:\/\/www.museibologna.it\/musica\/viewschedatwbca\/&amp;path=\/images\/ripro\/gaspari\/_Z\/Z170\/\"><span class=\"Hyperlink\">https:\/\/www.museibologna.it\/musica\/viewschedatwbca\/&amp;path=\/images\/ripro\/gaspari\/_Z\/Z170\/<\/span><\/a> (accessed on 10&#160;Oct. 2025).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-scaled.png\" alt=\"Musical examples with excerpts of polyphonic passages in modern notation. The upper system shows the vocal parts in open score with text underlay, while the lower system presents a keyboard version in modern notation. Red boxes and arrows highlight the contours of the original voices in the intabulations and show the rests removed in the intabulation process.\" width=\"2560\" height=\"2407\" class=\"alignnone size-full wp-image-7765\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-300x282.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-1024x963.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-150x141.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-768x722.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-1536x1444.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-2048x1925.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4a-marked-850x799.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>a)<\/b> mm.&#160;14\u201315. The red box highlights the use of a tie to clarify voice leading, which is ordinarily hidden by <em>intavolatura <\/em>practice.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-scaled.png\" alt=\"Musical examples with excerpts of polyphonic passages in modern notation. The upper system shows the vocal parts in open score with text underlay, while the lower system presents a keyboard version in modern notation. Red boxes and arrows highlight the contours of the original voices in the intabulations and show the rests removed in the intabulation process.\" width=\"2560\" height=\"1962\" class=\"alignnone size-full wp-image-7766\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-300x230.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-1024x785.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-150x115.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-768x588.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-1536x1177.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-2048x1569.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4b-marked-850x651.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>b)<\/b> mm.&#160;54\u201355. The bottom box highlights a large interval in one hand, wider than usually seen in <em>intavolatura<\/em> practice; arrows show the contour of the original voices. The upper boxes show notes removed from the tablature.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-scaled.png\" alt=\"Musical examples with excerpts of polyphonic passages in modern notation. The upper system shows the vocal parts in open score with text underlay, while the lower system presents a keyboard version in modern notation. Red boxes and arrows highlight the contours of the original voices in the intabulations and show the rests removed in the intabulation process.\" width=\"2560\" height=\"1383\" class=\"alignnone size-full wp-image-7815\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-300x162.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-1024x553.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-150x81.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-768x415.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-1536x830.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-2048x1106.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4c-marked-850x459.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>c)<\/b> mm.&#160;60\u201363. The red arrow shows the contour of the original voice leading as it moves between the hands; note how the stem direction obscures the motion of the original voices. The tenor <em>e<\/em><span class=\"ts_italic_Hochgestellt\">1<\/span> (red box) is the opening note of the <em>soggetto<\/em>, which is omitted in the intabulation.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-scaled.png\" alt=\"Musical examples with excerpts of polyphonic passages in modern notation. The upper system shows the vocal parts in open score with text underlay, while the lower system presents a keyboard version in modern notation. Red boxes and arrows highlight the contours of the original voices in the intabulations and show the rests removed in the intabulation process.\" width=\"2312\" height=\"2560\" class=\"alignnone size-full wp-image-7816\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-scaled.png 2312w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-271x300.png 271w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-925x1024.png 925w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-135x150.png 135w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-768x850.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-1387x1536.png 1387w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-1850x2048.png 1850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-850x941.png 850w\" sizes=\"auto, (max-width: 2312px) 100vw, 2312px\" \/><br \/>\n<span class=\"caption-text\"><b>d)<\/b> mm.&#160;38\u201344. The purple boxes show unisons hidden by intavolatura convention. Red boxes show rests removed in the intabulation process. The red arrows show the original voice leading, again obscured by the conventions of <em>intavolatura<\/em>, while the purple arrows highlight the \u2018fictitious\u2019 tablature parts.<\/span><\/p>\n<p>In general, however, these intabulations largely preserve the original voice leading, pushing back against the rules of <em>intavolatura<\/em> to do so. In Ex.&#160;4a, m.&#160;14, a tie is added in the tenor <em>e<\/em><span class=\"ts_italic_Hochgestellt\">1<\/span>, to flag the continuation of the tenor, even as the stem directions give a \u2018fictitious\u2019 impression of the voice leading. In other instances beaming is used to clarify voice leading. Sometimes the original polyphony is preserved at the expense of playability, with awkward stretches that are difficult to perform as written \u2013 see Ex.&#160;4b, m.&#160;54, Ex.&#160;4c, m.&#160;60, and Ex.&#160;4d, m.&#160;70. Again, the tendency to preserve Frescobaldi\u2019s musical text would seem to amplify Newcomb\u2019s point that the fundamental \u2018need\u2019 to preserve the particularities of these texts is part of their function as musical objects. However, there is a fundamentally Janus-faced quality of <em>intavolatura<\/em>; as I explored in my previous article for this series, the fact that<em> intavolatura<\/em> uses mensural notation means that its rules can be bent to show details of voice-leading, turning <em>intavolatura<\/em> into a kind of open score.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a><\/span><\/span> It is noticeable that the tendency to preserve musical text in the Frescobaldi intabulations in I-RAc MS Classense 545, which dates from the middle of the 17th century, goes against what one often sees in intabulations from the 16th century.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a><\/span><\/span> In fact, in two intabulations of ricercars by Padovano (originally published in part-books) by Sperindio Bertoldo (Ex.&#160;5; see Tab.&#160;2), the intabulator has no qualms with allowing the intabulation process to not only obscure voice leading but to essentially rework the polyphonic fabric, altering the original text as extensively as seen in elaborate intabulations. In fact, the integrity of the subject \u2013 in a \u2018learned\u2019 ricercar no less \u2013 is sometimes completely omitted in an effort to adapt the music for keyboard performance.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a><\/span><\/span> In Ex.&#160;5a, notes from the <em>soggetto<\/em> are removed to avoid awkward stretches, and in Ex.&#160;5b, for diminution in the right hand.<\/p>\n<p><span class=\"caption-text\"><b>Example 5a\u2013b:<\/b>Intabulations by Bertoldo, of ricercars by Padovano.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-scaled.png\" alt=\"Musical examples with excerpts of polyphonic passages in modern keyboard notation. The upper system shows the vocal parts in open score while the lower system presents a keyboard version in modern notation with some changes for practical reasons.\" width=\"2560\" height=\"1396\" class=\"alignnone size-full wp-image-7817\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-300x164.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-1024x558.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-150x82.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-768x419.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-1536x838.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-2048x1117.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-5a-marked-850x464.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>a)<\/b> Bottom staves transcribed from Sperindio Bertoldo, <em>Ricercar del Primo Tuono<\/em>, mm.&#160;14\u201319,in: Bertoldo, <em>Toccate, ricercari et canzoni francese <\/em>(Venice, 1591), 15\u20139. Top staves transcribed from Annibale Padovano, <em>Il primo libro de ricercari a quattro voci<\/em> (Venice, 1556).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-scaled.png\" alt=\"Musical examples with excerpts of polyphonic passages in modern keyboard notation. The upper system shows the vocal parts in open score while the lower system presents a keyboard version in modern notation with some changes for practical reasons.\" width=\"2312\" height=\"2560\" class=\"alignnone size-full wp-image-7816\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-scaled.png 2312w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-271x300.png 271w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-925x1024.png 925w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-135x150.png 135w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-768x850.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-1387x1536.png 1387w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-1850x2048.png 1850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-4d-NEW-marked-850x941.png 850w\" sizes=\"auto, (max-width: 2312px) 100vw, 2312px\" \/><br \/>\n<span class=\"caption-text\"><b>b)<\/b> Bottom staves transcribed from Sperindio Bertoldo, <em>Ricercar del Terzo Tuono<\/em>, mm.&#160;12\u201313,in: Bertoldo, <em>Toccate, ricercari et canzoni francese <\/em>(Venice, 1591), 20\u20133. Top staves transcribed from Annibale Padovano, <em>Il primo libro de ricercari a quattro voci<\/em> (Venice, 1556).<\/span><\/p>\n<p>Newcomb\u2019s response would surely be to argue that these ricercars, representative of the Venetian school, are less contrapuntally rigorous and <em>artificioso <\/em>than the Ferrarese-Roman-Neapolitan works that are the object of his study.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a><\/span><\/span> However, I am not sure if this entirely fair to the Venetians: not only do many of their works hint at the same \u2018advanced\u2019 level of <em>artificioso<\/em> composition as do the ricercars that Newcomb highlights (witness the c.f. treatment of the <em>soggetto <\/em>in the Padovano ricercar just cited), but, as Newcomb himself points out, these works come to us not in open score, but in<em> intavolatura<\/em>; in this case, the notational format has a material influence on the music style itself.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a><\/span><\/span> That is, the notation has a sort of agency that we would normally consider to belong completely to the composer, imposing a direct influence on musical style. In other words, the complex and <em>artificioso <\/em>tendencies of the works he cites are that way precisely because they are in full score, not <em>intavolatura<\/em>, just as the Venetian ricercars <em>appear <\/em>to be less complex because they are in <em>intavolatura<\/em>, and not in full score.<\/p>\n<h4 id=\"4\"><em>Intavolatura<\/em> and Open Scores: a Comparison of Notational Influence<\/h4>\n<p>One can get a further sense of this \u2018notational influence\u2019 by comparing \u2018free\u2019 (that is, model-less) keyboard works in both formats. Gb-Lbl Add. 30491, a major source of Neapolitan keyboard music ca.&#160;1600, contains a sole piece in <em>intavolatura<\/em>,Macque\u2019s <em>Capriccio sopra re fa mi sol;<\/em> the remaining keyboard works in the manuscript are notated inopen score<em>.<\/em> In mm.&#160;16\u201323 of Macque\u2019s <em>Capriccio<\/em> (Ex.&#160;6), a thoroughly contrapuntal texture is implied, but the counterpoint isloose and not particularly well-defined; witness the disappearance of the alto part in m.&#160;20. I would suggest that this texture has to be seen as a by-product of <em>intavolatura <\/em>and its conventions: resting voices are not given rests that would clearly indicate their contour (and continued existence), and stem directions hide the specifics of voice leading. Sustained notes tend to evaporate in a way reflective of the decay of a plucked string \u2013 see the soprano in m.&#160;22, for example. The intabulation is an image of an improvised performance.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-scaled.png\" alt=\"Musical example with excerpt in modern keyboard notation featuring rapid ornamental figures and intricate contrapuntal writing. The passage includes continuous sixteenth-note motion, alternating hands, and wide intervallic leaps between voices. The texture demonstrates the virtuosic elaboration typical of elaborate intabulations and transcriptions of vocal polyphony.\" width=\"2560\" height=\"1151\" class=\"alignnone size-full wp-image-7818\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-300x135.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-1024x460.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-150x67.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-768x345.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-1536x691.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-2048x921.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-6-850x382.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 6<\/b> Giovanni de Macque, \u2018Capriccio di Gio. De Macque, sopra r\u00e8 f\u00e0 mi sol\u2019, mm.&#160;16\u201323, transcribed from Gb-LB Add 30491, fol.&#160;23<span class=\"Hochgestellt\">v<\/span>.<\/span><\/p>\n<p>However, would the piece have had the same casualness in counterpoint if it were notated in open score? To start, the contrapuntal fabric would be cast fully in relief, each voice having its predefined physical space on the page. As we have seen, the intabulation process tends to create a hierarchy of elements that mirror the aural perception and the physical actions of performance, with the \u2018primary\u2019 voices containing elements, such as a<em> soggetto<\/em> orpassaggi, that are more \u2018important\u2019 than the \u2018accompanying\u2019 voices. This is at least partly enabled by the fact that the<em> intavolatura<\/em> is a kind of open canvas \u2013 the voices are not given any sort of predefined physical space. In contrast, the predetermined space that receives each part in an open score would seem to encourage contrapuntal completeness. The notation need not capitulate to the practicalities of performance at all. I wonder if Macque might have been tempted \u2013 or rather, spurred on \u2013 to <em>increase<\/em> the complexity level if he had used open score, adding say, sustained notes to accompany a polyphonic complex (the kind that often give performers headaches today), or perhaps doubling one of the voices in thirds. In Ex.&#160;7a, I created, following the advice of Alexander Silbiger, a detabulation of the passage in Ex.&#160;6; in Ex.&#160;7b, I \u2018filled the gaps\u2019 of my literal detabulation, in a speculative exercise to show how the music might have been written in open score: the evaporating long notes are left in, and I have added slight figuration to maintain a full four-voice texture (see brackets).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a><\/span><\/span><\/p>\n<p><span class=\"caption-text\"><b>Example 7a\u2013b<\/b> Detabulations of Macque\u2019s Capriccio from Example 6<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-scaled.png\" alt=\"Musical examples with excerpts in modern keyboard notation of fig. 6 now notated in open score.\" width=\"2560\" height=\"1958\" class=\"alignnone size-full wp-image-7819\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-300x229.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-1024x783.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-150x115.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-768x588.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-1536x1175.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-2048x1567.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7a-850x650.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 7a<\/b> A literal detabulation of Macque\u2019s <em>Capriccio<\/em>, from Ex.&#160;6. Due to the conventions of intavolatura, the two <em>soggetti<\/em> appear to be in separate voices; in detabulating, I have made sure that a given instance of a <em>soggetto<\/em> remained in the same voice. Apart from that concession, I have transcribed the parts literally from the tablature.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7b.png\" alt=\"Musical examples with excerpts in modern keyboard notation of fig. 6 now notated in open score.\" width=\"608\" height=\"480\" class=\"alignnone size-full wp-image-7820\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7b.png 608w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7b-300x237.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-7b-150x118.png 150w\" sizes=\"auto, (max-width: 608px) 100vw, 608px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 7b<\/b> I have now added material to the detabulation, largely by sustaining the implied long notes. In addition, I have added contrapuntal material in two instances (brackets).<\/span><\/p>\n<p>A fruitful comparison can be made with Trabaci\u2019s <em>Capriccio sopra la, fa, sol, la<\/em> from the<em> Libro primo <\/em>(1603)<em>.<\/em> As noted by Silbiger, it is similar enough to Macque\u2019s <em>Capriccio<\/em> to warrant being identified as a kind of parody.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a><\/span><\/span> In parallel passages to the two just shown, we can see what Macque\u2019s \u2018missing\u2019 parts might have contained (Ex.&#160;8); notable is the tendency to consistently add material in the fourth voice incontrapuntal complexes that are essentially in three voices; in comparable moments in Macque\u2019s <em>Capriccio<\/em>, the fourth voice often isn\u2019t present \u2013 one gets the impression that material is added only as it is possible to play (for example, the faster-moving imitative section from mm.&#160;16\u201322 remains <em>a&#160;3 <\/em>until the <em>soggetto <\/em>enters in all voices in augmentation, after which the texture is again reduced to three voices). It must also be noted that Trabaci\u2019s piece is considerably more difficult to perform as exactly written, precisely due to these ancillary parts.<\/p>\n<p><span class=\"caption-text\"><b>Example 8a-b:<\/b> Trabaci, \u2018Capriccio sopra la, fa, sol, la\u2019, transcribed from Trabaci, <em>Ricercate canzone francese capricci <\/em>[\u2026]<em> libro primo<\/em> (Naples, 1603), 63\u20136. The music, originally printed in open score, has again been transcribed into modern keyboard notation, with stem directions reflective of the parts in the open score.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-scaled.png\" alt=\"Musical examples with excerpts transcribed from Giovanni Maria Trabaci\u2019s Ricercate, canzone francese, capricci [\u2026] libro primo (Naples, 1603), pages 63\u201366. The music, originally printed in open score, is here presented in modern keyboard notation.\" width=\"2560\" height=\"636\" class=\"alignnone size-full wp-image-7821\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-300x74.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-1024x254.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-150x37.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-768x191.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-1536x381.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-2048x508.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8a-850x211.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>a)<\/b> mm.&#160;20\u201326<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-scaled.png\" alt=\"Musical examples with excerpts transcribed from Giovanni Maria Trabaci\u2019s Ricercate, canzone francese, capricci [\u2026] libro primo (Naples, 1603), pages 63\u201366. The music, originally printed in open score, is here presented in modern keyboard notation.\" width=\"2560\" height=\"555\" class=\"alignnone size-full wp-image-7822\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-300x65.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-1024x222.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-150x33.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-768x166.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-1536x333.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-2048x444.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-8b-850x184.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>b)<\/b> mm.&#160;53\u201355<\/span><\/p>\n<p>Following the same logic as the algorithmic conversion of polyphony to <em>intavolatura<\/em>, I wonder if the open-score formatcan be seen to have the opposite effect, at the very least encouraging \u2013 or perhaps even \u2018demanding\u2019 \u2013 additional notational detail, therefore possessing a degree of agency over musical style in exactly the opposite way that<em> intavolatura<\/em> does. Put another way, keyboard music in open score \u2013 at least around 1600 in Italy \u2013 represented a kind of objectification of <em>intavolatura<\/em>, with a parallel set of algorithmic processes at work. This is particularly the case if we assume that works such as Trabaci\u2019s and Macque\u2019s were likely \u2018composed\u2019 at the keyboard as a product of improvisation. In this case, the<em> intavolatura<\/em> is a kind of <em>tabula compositoria<\/em>.To the extent that the intabulated version of Macque\u2019s <em>Capriccio <\/em>is the <em>res facta <\/em>to the improvisation, notation in open score format would be the next step up the ladder of \u2018composedness\u2019 \u2013 or rather, the top rung.<\/p>\n<p>Another comparison of works in each format is illustrative. Ex.&#160;9a shows a passage from the <em>Toccata terza <\/em>from Ascanio Mayone\u2019s<em> Secondo libro di diversi capricci per sonare<\/em>, published in open score, and Ex.&#160;9b a passage from an anonymous toccata-like piece in I-TRmp [n.s.] (commonly known as the \u2018Feininger\u2019 manuscript).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a><\/span><\/span> In the passage from the anonymous toccata, imitation of a figure (<em>a<\/em>)creates a move towards a cadence. Again, as would be expected in a work notated in <em>intavolatura<\/em>, the counterpoint is a sketch rather than fully fleshed-out. The texture thins out in m.&#160;5, moving to an <em>a&#160;3 <\/em>texture on the second beat, with the bass truncated on <em>c<\/em><span class=\"ts_italic_Hochgestellt\">1<\/span>,evaporating on beat&#160;4. This is presumably to facilitate the stretch between the bass and tenor on this beat, and is again an image of the physical actions (and aural reality) of performance on a plucked keyboard instrument. The passage sits easily under the hands. In contrast, the Mayone toccata (mm.&#160;67\u201373), while almost identical in concept (imitation of a motive as a drive towards a cadence), has a quite different effect: wide intervals (such as seen in the last beat of m.&#160;67 and 68) are awkward and sit unidiomatically on the keyboard, and the texture is considerably more dense overall. Conceptually, the musical kernel behind each excerpt is the same: two voices participate in an imitative complex of a motive, while the other two voices accompany this <em>a&#160;2<\/em> complex with accompanying contrapuntal material. However, in the anonymous toccata, this accompanying material is minimal, or even non-existent, whereas in the Mayone, it consists of long notes or \u2018extra\u2019 material that moves with the same note values as the motive, creating busy and highly unidiomatic textures (see, for example, m.&#160;73). The point is highlighted further in Ex.&#160;9c, an excerpt from another toccata by Mayone from his <em>Primo libro<\/em>, and an anonymous <em>Toccata piena <\/em>from the Feininger manuscript; the anonymous toccata fits the stylistic \u2018norm\u2019 of <em>passaggi <\/em>and chords to a tee, whereas the sustained notes in Mayone\u2019s toccata simply get in the way in performance \u2013 but also give the piece a sense of contrapuntal completeness (and added complexity).<\/p>\n<p><span class=\"caption-text\"><b>Example 9a\u2013c:<\/b> Mayone, Toccatas<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9a-scaled.png\" alt=\">Musical examples with four excerpts in modern keyboard notation contrasting literal transcriptions and similar passages in transcriptions from works in intavolatura.&#8220; width=&#8220;2560&#8243; height=&#8220;518&#8243; class=&#8220;alignnone size-full wp-image-7829&#8243; \/><br \/>\n<span class=\"caption-text\"><b>Example 9a:<\/b> Ascanio Mayone, \u2018Toccata terza\u2019, mm.&#160;67\u201373, transcribed from Mayone, <em>Secondo libro di diversi capricci per sonare<\/em> (Naples, 1609), facs. repr. (Florence, 1984), 99\u2013110. The music, originally printed in open score, has been transcribed into modern keyboard notation, with stem directions once again reflective of the parts in the open score, to facilitate comparison with the works in <em>intavolatura<\/em>.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-scaled.png\" alt=\"Musical examples with four excerpts in modern keyboard notation contrasting literal transcriptions and similar passages in transcriptions from works in intavolatura.\" width=\"2560\" height=\"579\" class=\"alignnone size-full wp-image-7826\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-300x68.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-1024x232.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-150x34.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-768x174.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-1536x347.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-2048x463.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9b-marked-850x192.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 9b:<\/b> Anon., [Toccata], mm.&#160;4\u20138, in: I-TRmp [n.s.], fol.&#160;45<span class=\"Hochgestellt\">v<\/span>-46<span class=\"Hochgestellt\">r<\/span>. Transcribed from Italian keyboard <em>intavolatura<\/em>.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-scaled.png\" alt=\"Musical examples with four excerpts in modern keyboard notation contrasting literal transcriptions and similar passages in transcriptions from works in intavolatura.\" width=\"2560\" height=\"1060\" class=\"alignnone size-full wp-image-7827\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-300x124.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-1024x424.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-150x62.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-768x318.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-1536x636.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-2048x848.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9c-850x352.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 9c:<\/b> Ascanio Mayone, \u2018Toccata prima\u2019, mm.&#160;20\u201324, transcribed from Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples, 1603), 39\u201343. Transcribed into modern keyboard notation from open score.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-scaled.png\" alt=\"Musical examples with four excerpts in modern keyboard notation contrasting literal transcriptions and similar passages in transcriptions from works in intavolatura.\" width=\"2560\" height=\"915\" class=\"alignnone size-full wp-image-7828\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-300x107.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-1024x366.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-150x54.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-768x275.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-1536x549.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-2048x732.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-9d-850x304.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 9d:<\/b> Anon., \u2018Toccata piena\u2019, mm.&#160;17\u201320, in: I-TRmp [n.s.], fol.&#160;11<span class=\"Hochgestellt\">v<\/span>-13<span class=\"Hochgestellt\">r<\/span>. Transcribed from Italian keyboard <em>intavolatura<\/em>.<\/span><\/p>\n<p>Again, one can interrogate the degree to which these elements are, in fact, influenced by the notational format itself. The difficult elements in the music of the Neapolitan school described earlier are encouraged (or required?) by the use of open score. Mayone\u2019s toccata would <em>appear on the page<\/em> to be much more like the anonymous Trent toccata if it were notated in <em>intavolatura<\/em>, and the Trent toccata would have been more fully fleshed out, objectified in a way that leads to increased contrapuntal complexity, if it were written in open score<em>.<\/em> Giving a degree of agency to the notational format itself may certainly have radical implications for considerations of notions of \u2018workhood\u2019, and how these notions are theorized in music ca.&#160;1600.<\/p>\n<h4 id=\"5\">Notating the Neapolitan <span class=\"bold_italic\">Madrigale Passaggiato<\/span><\/h4>\n<p>These issues of notation, performance, and composition are aptly illustrated by the four madrigal arrangements in the published volumes of Trabaci and Mayone (one arrangement per volume). Although these are for all intents and purposes very similar to elaborate intabulations, they technically cannot be considered to be intabulations at all, as they are not notated in <em>intavolatura<\/em>.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a><\/span><\/span> While this definitional quibble may seem on the surface rather semantic, the arrangements contain the same difficult tendencies in performance, and overall level of complexity, as the other works in the volumes. Trabaci\u2019s own terminology, used on the title page of his 1603 <em>Libro primo<\/em>, \u2018madrigale passeggiato\u2019,might imply a process in which diminution was applied to each voice of the madrigal, but a closer examination reveals a process of arrangement akin to intabulation. In fact, these works can be seen as particularly exemplary of the kind of abstraction or <em>objectification<\/em> of an intabulation; ironically, their difficulty in performance once again suggests the need to intabulate them in order to perform them.<\/p>\n<p>At the same time, that the <em>madrigale passaggiato <\/em>is fundamentally related to the intabulation (while not being an actual intabulation) is obvious, at least superficially.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a><\/span><\/span> In Trabaci\u2019s intabulation of Ferrabosco\u2019s \u2018Io mi son giovinetto\u2019 in the <em>Libro primo <\/em>(1603) (Ex.&#160;10), there are sections that strongly imply broken chords \u2013 highly idiomatic for a plucked instrument \u2013 and, generally speaking, the style of diminution is comparable to that seen in elaborate intabulations; in fact, the intabulations of Lassus\u2019s \u2018Susanne un jour\u2019 in the Feininger manuscript, and Striggio\u2019s \u2018Nasce la pena mia\u2019 in I-Fl Ms. Acquisti e Doni 641 contain particular diminution figures shared with pieces from the Neapolitan school.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a><\/span><\/span> (Ex.&#160;11 shows a characteristic diminution figure, based on a series of falling thirds.) In the Neapolitan<em> madrigali passaggiati<\/em> and in the \u2018Susanne un jour\u2019 and \u2018Nasce la pena mia\u2019 intabulations alike, notonly is the ornamentation extensive, but there is a notable tendency for the diminutions to take on a life of their own, forming superstructures in which specific surface figures are subject to contrapuntal manipulation and development. This manipulation includes the use of learned contrapuntal devices such as inversion, diminution, and augmentation. In addition, all of these intabulations show the clear influence of <em>bastarda<\/em>-style ornamentation, with frequent leaps between vocal parts and ranges.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-scaled.png\" alt=\"A musical example with an excerpt in open score showing typical broken-chord figurations in red boxes.\" width=\"2560\" height=\"935\" class=\"alignnone size-full wp-image-7832\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-300x110.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-1024x374.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-150x55.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-768x281.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-1536x561.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-2048x748.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-10-marked-1-850x311.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 10:<\/b> Broken-chord figuration in Giovanni Maria Trabaci, \u2018lo mi son giovinetto\u2019, mm.&#160;13\u201314, transcribed from Trabaci, <em>Ricercate canzone francese capricci <\/em>[\u2026]<em> libro primo<\/em> (Naples, 1603), 117\u201322.<\/span><\/p>\n<p><span class=\"caption-text\"><b>Example 11a\u2013c:<\/b> A common falling-third diminution figure seen in ltalian intabulations and arrangements ca.&#160;1600. Also, see previous example.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-scaled.png\" alt=\"Musical examples with three excerpts in open score illustrating common falling third diminution figures indicated by red boxes.\" width=\"2560\" height=\"1006\" class=\"alignnone size-full wp-image-7833\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-300x118.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-1024x402.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-150x59.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-768x302.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-1536x603.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-2048x804.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11a-marked-850x334.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>a)<\/b> Ascanio Mayone, \u2018Ancidetemi pur\u2019, mm.&#160;14\u201315, transcribed from Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples, 1603), 31\u20138.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-scaled.png\" alt=\"Musical examples with three excerpts in open score illustrating common falling third diminution figures indicated by red boxes.\" width=\"2560\" height=\"468\" class=\"alignnone size-full wp-image-7834\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-300x55.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-1024x187.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-150x27.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-768x140.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-1536x281.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-2048x374.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11b-marked-850x155.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>b)<\/b> Anon., \u2018Nasce la pena mia\u2019, m.&#160;34, transcribed from I-FI Ms. Acquisti e Doni 641, fol.&#160;25<span class=\"Hochgestellt\">v<\/span>\u201328<span class=\"Hochgestellt\">v<\/span>.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-scaled.png\" alt=\"Musical examples with three excerpts in open score illustrating common falling third diminution figures indicated by red boxes.\" width=\"2560\" height=\"562\" class=\"alignnone size-full wp-image-7835\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-300x66.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-1024x225.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-150x33.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-768x169.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-1536x337.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-2048x450.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-11c-marked-850x187.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>c)<\/b> Anon., \u2018Susanna\u2019, m.&#160;39, transcribed from I-TRmp [n.s.], fol.&#160;39<span class=\"Hochgestellt\">v<\/span>\u201344<span class=\"Hochgestellt\">r<\/span>.<\/span><\/p>\n<p>In addition to these superficial details, affinities with the intabulation process can be observed structurally as well. In particular, a close analysis reveals not so much a part-by-part strategy of diminution (as if one were, for example, applying diminutions to a single part), but a holistic approach in which all parts are considered at the same time. In many instances, Trabaci and Mayone employ the same sort of alteration to the voice-leading of the model as suggested by Diruta and as seen in elaborate intabulations. Often, alterations are undertaken in order to accommodate the logical contour of an ornamental figure. In Ex.&#160;12a, the natural movement of the soprano <em>passaggio<\/em> towards<em> f#<\/em><span class=\"ts_italic_Hochgestellt\">1<\/span> necessitates the recomposition of the alto. In other instances, entire ornamental complexes involving multiple voices lead to the extensive reworking of the model\u2019s polyphony, as can be seen in Ex.&#160;12b. These moments of alteration align with Diruta\u2019s advice to briefly alter inner voices to accommodate large intervals \u2013 and even more so with the procedures seen in elaborate intabulations.<\/p>\n<p><span class=\"caption-text\"><b>12a\u2013c<\/b> Giovanni Maria Trabaci, \u2018lo mi son giovinetto\u2019, transcribed from Trabaci, <em>Ricercate canzone francese capricci <\/em>[\u2026]<em> libro primo<\/em> (Naples, 1603), facs. repr. (Florence, 1984), 63\u20136.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-scaled.png\" alt=\"Musical examples with excerpts showing ornamented intabulations. The upper system shows the vocal parts in open score with text underlay, while the lower system presents a keyboard version in open score.\" width=\"2560\" height=\"1830\" class=\"alignnone size-full wp-image-7838\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-300x214.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-1024x732.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-150x107.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-768x549.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-1536x1098.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-2048x1464.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-104x74.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12a-850x608.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>a)<\/b> mm.&#160;6\u20137<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-scaled.png\" alt=\"Musical examples with excerpts showing ornamented intabulations. The upper system shows the vocal parts in open score with text underlay, while the lower system presents a keyboard version in open score.\" width=\"2560\" height=\"1866\" class=\"alignnone size-full wp-image-7839\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-300x219.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-1024x746.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-150x109.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-768x560.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-1536x1119.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-2048x1492.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-12b-850x619.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>b)<\/b> mm.&#160;41\u201346<\/span><\/p>\n<p>In addition, the Neapolitan arrangements show instances of voice exchange that are strongly suggestive of <em>intavolatura<\/em>\u2019s fictitious voices. In Mayone\u2019s arrangement of \u2018Ancidetemi pur\u2019, (Ex.&#160;13a), the tenor part in m.&#160;6 is placed in the soprano part in the arrangement; this makes sense as it is the highest-sounding part in this instance and would, of course, be placed in the upper staff of an <em>intavolatura<\/em> (with stems pointing up if sharing the staff with the next highest voice, the alto). Interestingly enough, a similar procedure is seen in the same place in Trabaci\u2019s arrangement of the same madrigal (Ex.&#160;13b, m.&#160;10); here the alto gets the material of the original tenor part (which in turn gets the material previously given to the alto part). The logic behind the voice exchanges and the alterations are both clearly influenced by <em>intavolatura<\/em>.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-scaled.png\" alt=\"Two musical examples with excerpts showing ornamented intabulations. The upper system shows the vocal parts in open score with text underlay, while the lower system presents ornamented keyboard versions in open score.\" width=\"2560\" height=\"1746\" class=\"alignnone size-full wp-image-7840\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-300x205.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-1024x698.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-150x102.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-768x524.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-1536x1048.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-2048x1397.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13a-marked-850x580.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 13a:<\/b> Ascanio Mayone, \u2018Ancidetemi pur\u2019, mm.&#160;5\u20136, (bottom staves), transcribed from Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples, 1603), 31\u20138. Colored rectangles show the rearrangement of material between parts.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-scaled.png\" alt=\"Two musical examples with excerpts showing ornamented intabulations. The upper system shows the vocal parts in open score with text underlay, while the lower system presents ornamented keyboard versions in open score.\" width=\"2560\" height=\"1910\" class=\"alignnone size-full wp-image-7837\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-scaled.png 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-300x224.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-1024x764.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-150x112.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-768x573.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-1536x1146.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-2048x1528.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/example-13b-marked-850x634.png 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 13b:<\/b> Giovanni Maria Trabaci, \u2018Ancidetemi pur, Per l\u2019Arpa\u2019, mm.&#160;10\u201312, (bottom staves), transcribed from Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci <\/em>(Naples, 1615), facs. repr. (Florence, 1984), 126\u2013132.<\/span><\/p>\n<p>At the same time, however, many of the difficulties in performance cited above are still observed \u2013 there are many passages that are very unidiomatic for the keyboard and almost impossible to perform as written. (See Ex.&#160;1a at the top of the article, for example). Once again, it is relevant to inquire as to whether the notational format itself can at least partly explain these aspects, with the open-score notation \u2018exerting\u2019 its agency to influence musical style. At the same time, the processes of arrangement show obvious affinity to those seen in intabulation; it is almost as if these arrangements are the result of a <em>detabulatory<\/em> process, in which an actual \u2018intabulation\u2019 \u2013 again either a real one on paper or an<em> intavolatura<\/em> <em>alla mente \u2013 <\/em>was objectified in open score. The format allows for a highly \u2018rationalized\u2019 portrayal of the virtuosic and skilled art of the intabulator\/performer, including improvising <em>passaggi<\/em> and the concomitant reworking of the original voice leading<em>.<\/em><\/p>\n<h4 id=\"6\">Sounding Objects and Improvisation<\/h4>\n<p>In my 2018 study of <em>intavolatura<\/em>, I pointed out how certain published intabulations functioned as sounding objects.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn46\" class=\"footnote-ref\" id=\"fnref46\" role=\"doc-noteref\"><sup>46<\/sup><\/a><\/span><\/span> These sounding objects act as imagined performances; the reader could either recreate a performance by playing the intabulation, executing the \u2018instructions\u2019 to reproduce the \u2018encoded\u2019 performance, or engage with the prints, highly intricate in notational and ornamental detail and very expensive to produce, as a kind of \u2018hearing with the eyes\u2019<em> \u2013 <\/em>not at all dissimilar to the function advocated by Newcomb.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn47\" class=\"footnote-ref\" id=\"fnref47\" role=\"doc-noteref\"><sup>47<\/sup><\/a><\/span><\/span> However, in the form of hearing with the eyes that I am proposing, the open score allows the reader to form a mental <em>image<\/em> of a virtuosic <em>performance<\/em>, not necessarily by literally recreating the performance in their head, but by forming a mental <em>impression<\/em> of it. This can be read as a kind of extreme objectification of the performance, with the patron not only appreciating the<em> artificioso<\/em> and the complex elements on the page, but also the imagined skills of the <em>virtuoso<\/em>. In elaborate intabulations, not only do the techniques of arrangement highlight the intabulator as author, but they elevate his status socially and culturally, particularly in the eyes of patrons.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn48\" class=\"footnote-ref\" id=\"fnref48\" role=\"doc-noteref\"><sup>48<\/sup><\/a><\/span><\/span> The <em>madrigale passaggiato <\/em>is in a sense an elaborate intabulation on steriods: not only does it show off the complexity of diminution, but it does so in a way that borrows from and evokes the kind of <em>artificioso <\/em>ricercar that are the focus in Newcomb\u2019s article, using its open-score format to reveal detail through its clear delineation of the fictitious tablature voices and voice-leading, which are squarely in the agency of the intabulator\/performer, not the original composer.<\/p>\n<p>In fact, other aspects of the <em>madrigali passaggiati <\/em>point strongly to performance, and specifically to a culture of improvisers. For example, the focus on a relatively minor Arcadelt madrigal (\u2018Ancidetemi pur\u2019) is notable. Despite its presence in a well-known and often-reprinted collection, it was not a common choice for intabulation prior to the Neapolitans.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn49\" class=\"footnote-ref\" id=\"fnref49\" role=\"doc-noteref\"><sup>49<\/sup><\/a><\/span><\/span> Interestingly enough, an arrangement \u2013 or a set of <em>bastarda<\/em> diminutions (the music itself is no longer extant) \u2013 by Giovanni de Macque is listed on the title page of Gb-Lbl Add. 30491. As Macque was the probably teacher of both Trabaci and Mayone, is it possible that \u2018Ancidetemi pur\u2019 was used pedagogically? The use of vocal models as vehicles for keyboard improvisation was certainly common in the 16th century. In fact, the intabulation of \u2018Susanne un jour\u2019 in the Feininger manuscript, mentioned earlier, contains a rather unique feature: the final section of Lassus\u2019s <em>chanson spirituelle<\/em>, the sequence beginning on the text \u2018Que d\u2019offenser\u2019, is repeated a total of no less than three times, each time with completely new figuration. One gets the sense that this section was being used as practice for creating new diminutions, not dissimilar to the fragmentary harmonic patterns on the<em> ciaccona<\/em> and other bass lines that one sees in early Baroque sources.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn50\" class=\"footnote-ref\" id=\"fnref50\" role=\"doc-noteref\"><sup>50<\/sup><\/a><\/span><\/span><\/p>\n<p>The specter of improvisation is also supported by the presence of strikingly &#173;similar figuration between the various arrangements; see, for example, the openings of \u2018Io mi son giovinetta\u2019 by Trabaci, and the later version Mayone and colleagues.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn51\" class=\"footnote-ref\" id=\"fnref51\" role=\"doc-noteref\"><sup>51<\/sup><\/a><\/span><\/span> This latter arrangement \u2013 certainly one of the more unusual works in 17th-century music \u2013 features no less than three arrangers, each one taking a phrase in turn, and each turn clearly marked in the score. Each section develops strikingly diverse figuration, giving the distinct impression of a 17th-century jam session. Is it reflective of the keyboard practices of this school of Neapolitan composers ca. 1600 \u2013 a glimpse into a Macque studio class? In any event, by abstracting and objectifying their art in open score,the precise details of elaboration are displayed, creating an objectified and highly rationalized image of a performance, with a clear impression of the technical processes at work.<\/p>\n<h4 id=\"7\">Notational Ironies<\/h4>\n<p>I have suggested that, in approaching the performance of keyboard works in open score, a 16th-century player would have intabulated them, either literally on paper or<em> alla mente. <\/em><\/p>\n<p>Intabulating the<em> madrigali passaggiati<\/em> of the Neapolitans would be somewhat ironic, however: if improvisatory practices \u2013 and specifically those reflected by intabulation \u2013 were at the root of the <em>creation<\/em> of the <em>madrigale<\/em> <em>passaggiato<\/em>, and if the <em>madrigale<\/em> <em>passaggiato<\/em> was a result of a kind of detabulation, re-intabulating these works would be making an intabulation of a detabulation that is in turn the product of an intabulation. The irony once again speaks, I think, to the fundamentally Janus-faced nature of these scores, a quality created by but also facilitated by their notational format. They are not solely musical objects to be studied or appreciated or scripts by which to execute a performance \u2013 nor something in between \u2013 but both, capable of fulfilling two functions simultaneously. While Newcomb argues for object over performance, it is impossible to view prints such as Trabaci\u2019s 1615<em> Capricci <\/em>exclusively through this lens \u2013 object and performance are too intrinsically connected in this case, and the definition of \u2018the work\u2019 is too hard to determine. However, if we accept a degree of agency on the part of the notational system itself, then the \u2018core\u2019 of the work has to be seen as existing in a fluid state, with details \u2013 not only notational but the \u2018music itself\u2019 \u2013 materially influenced by the notational format.<\/p>\n<h4>Endnotes<\/h4>\n<hr>\n<ol>\n<li id=\"fn1\">\n<p>Giovanni Maria Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci<\/em> (Naples: Giovanni Giacomo Carlino, 1615), facs. repr. (Florence, 1984), 117, &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/421259\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/421259<\/span><\/a>&gt; (accessed on 17&#160;Sept. 2024). English translation by the author.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>&lt;<a href=\"https:\/\/www.youtube.com\/watch?v=m9nRxm8SnFw\"><span class=\"Hyperlink\">https:\/\/www.youtube.com\/watch?v=m9nRxm8SnFw<\/span><\/a>&gt; (accessed on 17&#160;July 2024).<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Leon Chisholm, \u2018Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600\u2019, PhD diss., University of California, Berkeley, 2015, 58, &lt;<a href=\"https:\/\/escholarship.org\/uc\/item\/950881g4\"><span class=\"Hyperlink\">https:\/\/escholarship.org\/uc\/item\/950881g4<\/span><\/a>&gt; (accessed on 1&#160;Nov. 2024). Many of the commonly-seen textures in 16th-century Italian keyboard music, such as those based on <em>passaggi <\/em>in one hand and accompanying chords in the other, can certainly be seen to be derived from improvisation.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>For a list of Italian printed sources of keyboard music in the 16th and 17th centuries, see Tab.&#160;3.3 in Robert Floyd Judd, \u2018The Use of Notational Formats at the Keyboard: A Study of Printed Sources of Keyboard Music in Spain and Italy c.&#160;1500\u20131700, Selected Manuscript Sources Including Music by Claudio Merulo, and Contemporary Writings Concerning Notations\u2019, 2&#160;vols., PhD diss., University of Oxford, 1989, i, 89, &lt;<a href=\"https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile\"><span class=\"Hyperlink\">https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile<\/span><\/a>&gt; (accessed on 1&#160;Nov. 2024). <a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Victor Coelho and Keith Polk, <em>Instrumentalists and Renaissance Culture, 1420\u20131600 <\/em>(Cambridge, 2016), 217\u201320. <a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Although commonly known as <em>partitura<\/em>, I will use the term open score. As Campagne and Rotem point out, the term <em>partiture \u2013 <\/em>and several related terms \u2013 could refer to &#173;various &#173;species of \u2018short scores\u2019 in addition to full scores. The overlap speaks to the role for open scores for accompaniment. Augusta Campagne and Elam Rotem, <em>Keyboard Accompaniment in Italy around 1600: Intabulations, Scores and Basso Continuo <\/em>(Basel, 2022), &lt;<a href=\"https:\/\/forschung.schola-cantorum-basiliensis.ch\/en\/forschung\/keyboard-accompaniment-1600.html\"><span class=\"Hyperlink\">https:\/\/forschung.&#173;schola-cantorum-basiliensis.ch\/en\/forschung\/keyboard-accompaniment-&#173;1600.html<\/span><\/a>&gt; (accessed on 21&#160;Sept. 2024), 14. <a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Anthony Newcomb, \u2018Notions of Notations\u2019, in: <em>Il saggiatore musicale <\/em>22 (2015), 5\u201331.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Ibid., 6. <a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Ibid.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Ibid., 11\u201312. <a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>This is my own framing of Newcomb\u2019s arguments. In the introduction to his essay, Newcomb also describes three preliminary \u2018steps\u2019, premises upon which his theories are erected. These are (1) that a 16th-century concept of a musical work existed; (2) that certain works and genres became increasingly \u2018composer-centered\u2019 due to the influence of print &#173;culture; and (3) the <em>artificioso <\/em>style of the late 16th-century led to an increasing \u2018&#173;prescriptive &#173;authority of notation\u2019. See ibid., 7\u20138. <a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Interestingly, the status of the intabulation \u2013 arguably much more prescriptive than descriptive \u2013 raises similar ontological issues. <a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Ibid., 13. <a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Trabaci\u2019s two volumes feature a diversity of genres, but place ricercars front and center: each volume begins with a set of twelve ricercars, one for each tone. <a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>See James Ladewig, \u2018The Use of Open Score as a Solo Keyboard Notation in Italy ca.&#160;1530\u20131714\u2019, in: <em>Essays in Honor of John F. Ohl: A Compendium of American Musicology<\/em>, ed. Enrique Alberto Arias et al.(Evanston, 2001), 75\u201391.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Newcomb, \u2018Notions of Notation\u2019 (see n.&#160;7), 7.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Cipriano de Rore, <em>Tutti i madrigali a quattro voci spartiti et accommodati<\/em> [\u2026](Venice: Angelo Gardano, 1577), see the title page, &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/111823\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/111823<\/span><\/a>&gt; (accessed on 29&#160;Sept. 2024). A companion piece of sorts, published in the same year, consists of a compilation of chansons<em> \u2013 <\/em>notably, many of which are seen commonly as lute or keyboard intabulations <em>\u2013 <\/em>also printed in open score without text. This collection is only indicated for players of perfect instruments, with no mention of the study of counterpoint. See Antonio Gardano, <em>Musica de diversi autori <\/em>(Venice: Angelo Gardano, 1577), facs. repr. (Bologna, 1971).<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Newcomb, \u2018Notions of Notation\u2019 (see n.&#160;7), 19.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>It is also worth noting that all four Neapolitan prints are designated \u2018da sonare\u2019, and Trabaci goes further in designating his music specifically for \u2018ogni strumento; ma inspecialmente per I Cimbali, e gli organi.\u2019<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Naples: Costantino Vitale, 1603, &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/421258\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/421258<\/span><\/a>&gt; (accessed on 29&#160;Sept. 2024).<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Newcomb, \u2018Notions of Notation\u2019 (see n.&#160;7), 9.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Craig Monson, \u2018Elena Malvezzi\u2019s Keyboard Manuscript: A New Sixteenth-Century Source\u2019, in: <em>EMH<\/em> 9 (1990), 73\u2013128.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Newcomb, \u2018Notions of Notation\u2019 (see n.&#160;7), 9\u201310.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>For an overview of the publication history as well as manuscript scores of Maschera\u2019s print, see the preface in Florentio Maschera, <em>Libro primo de canzoni \u2026 a quattro voci (Brescia, 1584)<\/em>, ed. Robert Judd, Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries9 (New York\/London, 1995), xi\u2013xvi.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>In a now somewhat legendary statement, Howard Mayer Brown pointed out that intabulations are the closest thing we have to Renaissance audio recordings. Howard Mayer Brown,<em> Embellishing Sixteenth Century Music<\/em> (London, 1976),xiii.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>To be fair, Diruta does advise the student to consult Merulo\u2019s published intabulations, \u2018il quale pi\u00f9 de ogn\u2019altro si \u00e8 affaticato in questa bell\u2019arte d\u2019intavolare diminuito come si &#173;vede in diverse sue Opera stampate.\u2019 Girolamo Diruta, <em>Seconda parte del Transilvano Dialogo &#173;diviso in quattro libri<\/em> (Venice: Giacomo Vincenti, 1609), i, 10, &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/\"><span class=\"Hyperlink\">http:\/\/www.<\/span><span class=\"Hyperlink\">bibliotecamusica<\/span><span class=\"Hyperlink\">.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/span><\/a>&gt;. Augusta Campagne points out (private correspondence) that Merulo\u2019s intabulations of canzonas \u2013 with faster-moving <em>note negre<\/em> \u2013 have fewer diminutions than the intabulations of chansons in the <em>Terzo libro. <\/em>This echoes Diruta\u2019s advice \u2013 and musical examples \u2013 in that his intabulation of Gabrieli\u2019s <em>La Spiritata<\/em>, with <em>note negre<\/em>, does not have added diminution, but the intabulation of Mortaro\u2019s <em>L\u2019Albergona<\/em>, with generally slower-moving notes, is used as a test-case for the addition of extensive diminution. <a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Diruta,<em> Seconda parte<\/em><span class=\"Emphasis\">.<\/span> I would be remiss not to mention that Diruta describes open scores as a key step in his intabulation method: the intabulator is instructed to make an open score on a <em>cartella \u2013 <\/em>presumablyan erasable tablet or paper \u2013 that includes the two staves of the <em>intavolatura<\/em>. This format can be seen in his own examples (see ibid., i, 3). After the ostensible \u2018preparatory\u2019 step of extracting the parts from the part-books onto the score, the student intabulates from the score on to the two staves of the <em>intavolatura<\/em>. The use of open score is particularly interesting as <em>intavolatura<\/em> notation obscures voice leading by giving the highest sounding note on a staff an upward stem and the lowest-sounding note a downward stem, even if the original parts cross, creating a set of \u2018fictitious\u2019 or tablature voices. See Augusta Campagne\u2019s article in the present volume, Ian Pritchard, \u2018Hacking the System: Italian Keyboard <em>Intavolatura <\/em>and Scribal Habit\u2019, in: \u2018<em>Universum rei harmonicae &#173;concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 42\u201365, &lt;<a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/<\/span><\/a>&gt; (accessed on 1&#160;August 2024), and Ian Pritchard, \u2018Keyboard Thinking: Intersections of Notation, Composition, Improvisation and Intabulation in Sixteenth-Century Italy\u2019, PhD diss., University of Southern California, 2018, &lt;<a href=\"https:\/\/ianpritchardearlykeyboards.com\/wp-content\/uploads\/2020\/09\/ian_pritchard_dissertation.pdf\"><span class=\"Hyperlink\">https:\/\/ianpritchardearlykeyboards.com\/wp-content\/uploads\/2020\/09\/ian_pritchard_dissertation.pdf<\/span><\/a>&gt; (accessed on 1&#160;Nov. 2024). Strangely enough, Diruta does<em> not<\/em> describe this phenomenon explicitly, but having all of the parts visible in an open score would facilitate the process of creating fictitious voices. It is also interesting to consider Gardano\u2019s two open-score prints in this light (see n.&#160;16), as they are ostensibly exactly the kind of \u2018prep score\u2019 that Diruta describes. <a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Thanks to Augusta Campagne for the phrase <em>intavolatura alla mente. <\/em><a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Diruta writes, \u2018Nel intavolare \u00e0 pi\u00f9 di quattro, si osserva l\u2019istesso ordine; ma si trovano le compositioni \u00e0 cinque, &amp; \u00e0 sei con due Tenori, over con due Contralti, &amp; anco con due Soprani, &amp; due Bassi. Tr\u00e0 quelle parti simili, ci nascono delli unisoni, bisogna avertire di non&#160;lasciar la parte, che ha la fuga, &amp; che la fuga si faccia intendere pi\u00f9, che sia possibile. Un\u2019altro avertimento vi voglio dare; alcune volte travarete il Soprano, &amp; il Basso &#173;tanto estremi, che non potrete arrivare n\u00e8 con l\u2019una n\u00e8 con l\u2019altra mano \u00e0 far le consonanze. Quando una &#173;delle parti estreme facesse la fuga, in modo alcuno no si deve lasciare. Quando poi vi sar\u00e0 &#173;accompagnamento di consonanze, potrete accomodarsi \u00e0 vostro modo, pur che non lasciate l\u2019Armonia priva di Consonanze; come per essempio: Se il Soprano sar\u00e0 tanto estremo con il Basso, che non si possa arrivare a le parti di mezo, potrete fare altri accompagnamenti, &amp; il simile farete quando le parti di mezo faranno la fuga.\u2019 Diruta, <em>Seconda parte<\/em>(see n.&#160;26), 10. <a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Ibid. Extant intabulations in Italian keyboard <em>intavolatura<\/em> run the gamut from \u2018simple\u2019 transcriptions to elaborate solo vehicles, mirroring the distinction established by Diruta between a simple intabulation process and the more \u2018advanced\u2019 <em>intavolature diminuite.<\/em><a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>Ian Pritchard, \u2018Hacking the System\u2019 (see n.&#160;27). <a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>For full versions of the intabulation models in this essay, please see the author\u2019s database online: <a href=\"https:\/\/ianpritchardearlykeyboards.com\/intavolatura-projects\/\"><span class=\"Hyperlink\">https:\/\/ianpritchardearlykeyboards.com\/intavolatura-projects\/<\/span><\/a><span class=\"Hyperlink\">.<\/span><a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>Silbiger describes the particular use of rests in <em>intavolatura<\/em>; these reflect the logic of the intabulation but not the logic of the underlying polyphony. He calls these \u2018fictitious rests\u2019. Through its application of stem directions and other notational elements, <em>intavolatura<\/em> often&#173;times gives the impression of an alternate set of voices; I have elsewhere described these as \u2018fictitious\u2019 or tablature voices (see n.&#160;27 above). For a full description of this phenomenon see Pritchard, \u2018Hacking the System\u2019 (see n.&#160;27). Also see Alexander Silbiger, \u2018Is the Italian Keyboard <em>Intavolatura<\/em> a Tablature?\u2019, in: <em>Recercare<\/em> 3 (1991), 81\u2013103.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>Ian Pritchard, \u2018Hacking the System\u2019 (see n.&#160;27).<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>Silbiger estimates that the manuscript dates from 1630\u20131640 or later; see preface to facs. ed., <em>Ravenna, Biblioteca comunale Classense, MS Classense 545<\/em>, Alexander Silbiger, ed. and introduction (New York\/London, 1987), viii. This dating is echoed by Barbara Cipollone, who provides some fascinating context for the collection. See \u2018The <em>Libro di Fra Gioseffo da Ravenna: <\/em>A Little Light on a Seventeenth-Century Italian Keyboard Collection\u2019, in: <em>Interpreting Historical Keyboard Music<\/em>, ed. Andrew Wooley and John Kitchen (London, 2013), 83\u201396. <a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>While it is impossible to directly link the two sources, it is notable that Padovano\u2019s ricercars appear as intabulations in Bertoldo\u2019s print, and also in a manuscript open score (B-Bc 26661); therefore, they are listed in the second part of Tab.&#160;2. Bertoldo\u2019s intabulations are truncated versions of the original works; see Sperindio Bertoldo, <em>Toccate, ricercari et canzoni francese intavolate <\/em>(Venice, 1591).<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>Newcomb writes, \u2018One should note also that the less contrapuntally rigorous and &#173;<em>artificioso <\/em>ricercars of the Venetian school \u2013 those of Claudio Merulo, Andrea Gabrieli, Sperindio Bertoldo \u2013 come down to us in Italian keyboard tablature, often with substantial written-&#173;out diminution, especially at cadences.\u2019 Newcomb, \u2018Notions of Notation\u2019 (see n.&#160;7), 17. <a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>One might reasonably push back against my challenge to Newcomb\u2019s characterisation of Venetian ricercars; surely the ricercars of the Ferrarese-Neapolitan school \u2013 with their use of <em>inganni <\/em>and the subtle manipulation of multiple subjects \u2013 reach the height of <em>artificioso <\/em>counterpoint. However, some Venetian ricercars show a tendency towards the extreme development of a single subject, saturating the texture with devices such as inversion, &#173;stretto, diminution, and augmentation. To give two examples, see Andrea Gabrieli\u2019s <em>Ricercar del Primo Tono Alla Quarta alta<\/em> (1595) or Annibale Padovano\u2019s <em>Ricercar del Sesto Tono <\/em>(1556). See Andrea Gabrieli, <em>Ricercari di Andrea Gabrieli<\/em> [\u2026]<em> libro secondo <\/em>(Venice: Angelo Gardano, 1595), fol.&#160;4<span class=\"Hochgestellt\">r<\/span>\u20136<span class=\"Hochgestellt\">v<\/span>, &lt;<a href=\"https:\/\/doi.org\/10.3931\/e-rara-56111\"><span class=\"Hyperlink\">https:\/\/doi.org\/10.3931\/e-rara-56111<\/span><\/a>&gt; (accessed on 30&#160;Sept. 2024). Annibale Padovano, <em>Il primo libro de ricercari a quattro voci <\/em>(Venice: Antonio Gardano, 1556). For a further discussion of Trabaci\u2019s \u2018new\u2019 manner of developing <em>inganni<\/em>, see Massimiliano Guido, \u2018Giovanni Maria Trabaci and the <em>New Manner of Inganni: <\/em>A Musical Mockery in the The Early Seicento Ricercar\u2019 in:<em> Interpreting Historical Keyboard Music<\/em>, ed. Andrew Wooley and John Kitchen (London, 2013), 43\u201364.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>Silbiger, \u2018Is the Italian Keyboard <em>Intavolatura<\/em> a Tablature?\u2019 (see n.&#160;33), 81.<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>Alexander Silbiger, <em>Italian Manuscript Sources of 17th Century Keyboard Music <\/em>(Ann Arbor, 1980), 167.<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>The latter is a major source for the works of Ercole Pasquini. Both intabulations share figuration with music from the Neapolitan school. The extent to which the works of Macque and Trabaci et al. constitute a distinct \u2018school\u2019, and to what extent one can speak of a broader Ferrarese-Neapolitan style, has been the subject of scholarly debate; see for example an earlier article by Newcomb, \u2018Frescobaldi\u2019s Toccatas and Their Stylistic Ancestry\u2019, in: <em>PRMA <\/em>111 (1984\/85), 28\u201344.<a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p>Scholars do not typically draw a distinction; see, for example, Giovanni Michelini, \u2018Ascanio Mayones und Girolamo Frescobaldis <em>Ancidetemi pur<\/em>\u2019, in: <em>ZGMTH<\/em> 20\/1 (2023), 91\u2013100. Also see the discussion of the pieces in Frederick Hammond\u2019s \u2018extended\u2019 web-&#173;hosted &#173;biography of Frescobaldi: <em>Girolamo Fresocbaldi: An Extended Biography<\/em> (2023), &lt;<a href=\"https:\/\/girolamofrescobaldi.com\/19-the-performance-of-frescobaldis-keyboard-music\/\"><span class=\"Hyperlink\">https:\/\/<\/span><span class=\"Hyperlink\">girolamofrescobaldi<\/span><span class=\"Hyperlink\">.com\/19-the-performance-of-frescobaldis-keyboard-music\/<\/span><\/a><span class=\"Hyperlink\">&gt; (accessed <\/span><span class=\"Hyperlink\">on 21&#160;Sept. 2024).<\/span><a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>The style of diminution is very much akin to that found in the elaborate intabulations mentioned earlier, even as Trabaci\u2019s 1615 arrangement of \u2018Ancidetemi pur\u2019 is specified as being for the harp (one must remember Trabaci\u2019s assertion that it, along with all of the other harp music in the collection, can be performed on the harpsichord).<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>See also the <em>canzoni<\/em> of Merulo, or the intabulations found in manuscripts such as I-TRmp [n.s.]. <a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>The use of<em> bastarda<\/em> style ornamentation \u2013 in whichthe<em> passaggi<\/em> migrate and often leap from part to part in a polyphonic model \u2013 are commonplace in late 16th-century keyboard intabulations. Rognoni notes that \u2018questo modo di passeggiare alla Bastarda, serve per Organi, Luiti, Arpe &amp; simili.\u2019 Francesco Rognoni Taeggio, <em>Selva de varii passaggi <\/em>(Milan: Filippo Lomazzo, 1620), facs. ed. (Bologna, 2012), ii, 2. <a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn46\">\n<p>See Pritchard, \u2018Keyboard Thinking\u2019 (see n.&#160;27), 224\u2013331. <a href=\"#fnref46\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn47\">\n<p>The term \u2018hearing with the eyes\u2019 was first coined by Cristle Collin Judd; see Judd, <em>Reading Renaissance Music Theory: Hearing with the Eyes <\/em>(Cambridge, 2000), 5. In describing his use of Judd\u2019s conception, Newcomb writes, \u2018Judd contrasts this version with \u201cthe very different visual and atemporal possibilities offered by notational representations in which [readers] could \u00bbsee\u00ab relationships that they often were not capable of perceiving aurally.\u201d It is this latter activity that I am proposing: the ability to recognize and appreciate unusual examples of musical artifice in the notation on the page.\u2019 Newcomb, \u2018Notions of Notation\u2019 (see n.&#160;7), 7.<a href=\"#fnref47\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn48\">\n<p>The notion reflects a kind of self-fashioning on the part of the intabulator-performer, and aligns with more recent views of patronage as described by writers such as Claudio Annibaldi and Andrew dell\u2019Antonio, which also posit a sort of self-fashioning on the part of the &#173;patrons \u2013 or at least the use of their patronage as a kind of social currency. See for &#173;example, Andrew Dell\u2019Antonio, <em>Listening as Spiritual Practice in Early Modern Italy<\/em> (Berkeley\/Los Angeles\/London, 2011). Annibaldi\u2019s ideas unfolded over a series of articles; see, for example, \u2018Frescobaldi\u2019s <em>Primo libro delle fantasie a quattro <\/em>(1608): A Case Study on the Interplay between Commission, Production and Reception in Early Modern Music\u2019, in: <em>Recercare <\/em>14 (2002), 31\u201363. For a more recent study on authorship in 16th-century keyboard music, see Cristina Cassia, \u2018Authorship in Sixteenth-Century Italian Printed Keyboard Music\u2019, in: <em>Studies on Authorship in Historical Keyboard Music<\/em>, ed. Andrew Wooley (Abingdon\/New York, 2024), 32\u201356.<a href=\"#fnref48\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn49\">\n<p>Originally appearing in Jacques Arcadelt, <em>Il primo libro di madrigali d\u2019Archadelt a quattro voci <\/em>(Venice: Girolamo Scotto [?], 1546), the madrigal is arguably best-known as a vehicle for keyboard arrangements; in addition to Frescobaldi\u2019s well-known intabulation (cited by Alexander Silbiger as a sort of Rosetta stone for the idea that improvising diminutions on madrigals were the key for the creation of the Frescobaldian toccata; see Alexander Silbiger, \u2018From Madrigal to Toccata: Frescobaldi and the <em>seconda prattica<\/em>\u2019, in: <em>Critica musica:<\/em> <em>Essays in honor of Paul Brainard<\/em>, ed. John Knowles, Musicology 18 [Amsterdam, 1996], 403\u201328), an arrangement was also included in Gregorio Strozzi\u2019s 1687 <em>Capricci da sonare cembali et organi <\/em>(Naples: Novello de Bonis, 1687). The madrigal appears as an earlier lute intabulation (Francesco Vindella, <em>Intavolatura di liuto<\/em> [Venice: Antonio Gardane, 1546], &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00071963\"><span class=\"Hyperlink\">https:\/\/mdz-nbn-resolving.de\/details:bsb00071963<\/span><\/a>&gt; [accessed on 10&#160;Oct. 2025]), and in a parody <em>bicinium <\/em>in Adriano Banchieri\u2019s <em>Il principiante fanciullo <\/em>(Venice: Bartolomeo Magni, 1625). <a href=\"#fnref49\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn50\">\n<p>See, for example, sources such as the <em>Instructio nova<\/em> by Spiridion a Monte Carmelo (modern edition: <em>Spiridionis a Monte Carmelo Nova instructio pro pulsandis organis, spinettis<\/em><em>, manuchordiis etc<\/em>., ed. Edoardo Bellotti, Tastature 11 [Colledara, 2003]), or V-CVbav Chig.Q.&#173;IV.27.<a href=\"#fnref50\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn51\">\n<p>Interestingly, there is also similar figuration to be found in Andrea Gabrieli\u2019s intabulation, found in his <em>Il terzo libro de ricercari <\/em>(Venice: Angelo Gardano, 1596).<a href=\"#fnref51\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"8\">Bibliography<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Claudio Annibaldi, \u2018Frescobaldi\u2019s <em>Primo libro delle fantasie a quattro <\/em>(1608): A Case Study on the Interplay between Commission, Production and Reception in Early Modern Music\u2019, in: <em>Recercare <\/em>14 (2002), 31\u201363<\/p>\n<p class=\"bibliography\">Jacques Arcadelt, <em>Il primo libro di madrigali d\u2019Archadelt a quattro voci <\/em>(Venice: Girolamo Scotto [?], 1546)<\/p>\n<p class=\"bibliography\">Adriano Banchieri\u2019s <em>Il principiante fanciullo <\/em>(Venice: Bartolomeo Magni, 1625)<\/p>\n<p class=\"bibliography\">Sperindio Bertoldo, <em>Toccate, ricercari et canzoni francese intavolate per sonar d\u2019&#173;organo<\/em> (Venice: Giacomo Vincenti, 1591), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/263347\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:Reverse&#173;Lookup\/&#173;&#173;263347<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Augusta Campagne and Elam Rotem, <em>Keyboard Accompaniment in Italy around 1600: Intabulations, Scores and Basso Continuo <\/em>(Basel, 2022), &lt;<a href=\"https:\/\/forschung.schola-cantorum-basiliensis.ch\/en\/forschung\/keyboard-accompaniment-1600.html\"><span class=\"Hyperlink\">https:\/\/forschung.schola-cantorum-basiliensis.ch\/en\/forschung\/keyboard-accompaniment-1600.html<\/span><\/a>&gt; <\/p>\n<p class=\"bibliography\">Cristina Cassia, \u2018Authorship in Sixteenth-Century Italian Printed Keyboard Music\u2019, in: <em>Studies on Authorship in Historical Keyboard Music<\/em>, ed. Andrew Wooley (Abingdon\/New York, 2024)<\/p>\n<p class=\"bibliography\">Leon Chisholm, \u2018Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600\u2019, PhD diss., University of California, Berkeley, 2015, &lt;<a href=\"https:\/\/escholarship.org\/uc\/item\/950881g4\"><span class=\"Hyperlink\">https:\/\/escholarship.org\/uc\/item\/950881g4<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Barbara Cipollone, \u2018The <em>Libro di Fra Gioseffo da Ravenna: <\/em>A Little Light on a Seven&#173;teenth-Century Italian Keyboard Collection\u2019, in: <em>Interpreting Historical Keyboard Music<\/em>, ed. Andrew Wooley and John Kitchen (London, 2013), 83\u201396<\/p>\n<p class=\"bibliography\">Victor Coelho and Keith Polk, <em>Instrumentalists and Renaissance Culture, 1420\u20131600 <\/em>(Cambridge, 2016)<\/p>\n<p class=\"bibliography\">Andrew Dell\u2019Antonio, <em>Listening as Spiritual Practice in Early Modern Italy<\/em> (Berkeley\/Los Angeles\/London, 2011)<\/p>\n<p class=\"bibliography\">Girolamo Diruta, <em>Seconda parte del Transilvano Dialogo diviso in quattro libri<\/em> (Venice: Giacomo Vincenti, 1609), &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Girolamo Frescobaldi, <em>II primo libro di capricci<\/em> [\u2026]<em> in partitura <\/em>(Rome: Luca Antonio Soldi, 1624), &lt;<a href=\"https:\/\/www.museibologna.it\/musica\/viewschedatwbca\/&amp;path=\/images\/ripro\/gaspari\/_Z\/Z170\/\"><span class=\"Hyperlink\">https:\/\/www.museibologna.it\/musica\/viewschedatwbca\/&amp;path=\/images\/ripro\/gaspari\/_Z\/Z170\/<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Andrea Gabrieli, <em>Ricercari di Andrea Gabrieli<\/em> [\u2026]<em> libro secondo <\/em>(Venice: Angelo Gardano, 1595), &lt;<a href=\"https:\/\/doi.org\/10.3931\/e-rara-56111\"><span class=\"Hyperlink\">https:\/\/doi.org\/10.3931\/e-rara-56111<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Antonio Gardano, <em>Musica de diversi autori <\/em>(Venice: Angelo Gardano, 1577), facs. repr. (Bologna, 1971)<\/p>\n<p class=\"bibliography\">Massimiliano Guido, \u2018Giovanni Maria Trabaci and the <em>New Manner of Inganni<\/em>:A Musical Mockery in the The Early Seicento Ricercar\u2019 in:<em> Interpreting Historical Keyboard Music<\/em>, ed. Andrew Wooley and John Kitchen (London, 2013), 43\u201364<\/p>\n<p class=\"bibliography\">Frederick Hammond, <em>Girolamo Fresocbaldi: An Extended Biography<\/em> (2023), &lt;<a href=\"https:\/\/girolamofrescobaldi.com\/19-the-performance-of-frescobaldis-keyboard-music\/\"><span class=\"Hyperlink\">https:\/\/<\/span><span class=\"Hyperlink\">girolamofrescobaldi.com\/19-the-performance-of-frescobaldis-keyboard-music\/<\/span><\/a><span class=\"Hyperlink\">&gt;<\/span><\/p>\n<p class=\"bibliography\">Cristle Collin Judd, <em>Reading Renaissance Music Theory: Hearing with the Eyes <\/em>(Cambridge, 2000)<\/p>\n<p class=\"bibliography\">Robert Floyd Judd, \u2018The Use of Notational Formats at the Keyboard: A Study of Printed Sources of Keyboard Music in Spain and Italy c.&#160;1500\u20131700, Selected Manuscript Sources Including Music by Claudio Merulo, and Contemporary Writings Concerning Notations\u2019, 2&#160;vols., PhD diss., University of Oxford, 1989, &lt;<a href=\"https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile\"><span class=\"Hyperlink\">https:\/\/www.&#173;&#173;academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">James Ladewig, \u2018The Use of Open Score as a Solo Keyboard Notation in Italy ca.&#160;1530\u20131714\u2019, in: <em>Essays in Honor of John F. Ohl: A Compendium of American Musicology<\/em>, ed. Enrique Alberto Arias et al.(Evanston, 2001), 75\u201391<\/p>\n<p class=\"bibliography\">Giovanni de Macque, <em>Opere per tastiera: Capricci, Stravaganze, Canzoni etc.<\/em>, ed. Liuwe Tamminga (Colledara, 2002)<\/p>\n<p class=\"bibliography\">Florentio Maschera, <em>Libro primo de canzoni \u2026 a quattro voci (Brescia, 1584)<\/em>, ed. Robert Judd, Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries9 (New York\/London, 1995)<\/p>\n<p class=\"bibliography\">Howard Mayer Brown,<em> Embellishing Sixteenth Century Music<\/em> (London, 1976)<\/p>\n<p class=\"bibliography\">Ascanio Mayone, <em>Diversi Capricci a sonare. Libro&#160;II, Napoli 1609<\/em>, ed. Christopher Stembridge (Padua, 1984)<\/p>\n<p class=\"bibliography\">Ascanio Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples: Costantino Vitale, 1603), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/501050\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/501050<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Ascanio Mayone,<em> Secondo libro di diversi capricci per sonare<\/em> (Naples: Giovanni Battista Gargano &amp; Lucrezio Nucci, 1609), &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/AA\/AA226\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/view&#173;schedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/AA\/AA226\/<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Giovanni Michelini, \u2018Ascanio Mayones und Girolamo Frescobaldis <em>Ancidetemi pur<\/em>\u2019, in: <em>ZGMTH<\/em> 20\/1 (2023), 91\u2013100<\/p>\n<p class=\"bibliography\">Craig Monson, \u2018Elena Malvezzi\u2019s Keyboard Manuscript: A New Sixteenth-Century Source\u2019, in: <em>EMH<\/em> 9 (1990), 73\u2013128<\/p>\n<p class=\"bibliography\">Anthony Newcomb, \u2018Notions of Notations\u2019, in: <em>Il saggiatore musicale <\/em>22 (2015), 5\u201331<\/p>\n<p class=\"bibliography\">Annibale Padovano, <em>Il primo libro de ricercari a quattro voci<\/em> (Venice: Antonio Gardano, 1556), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/676174\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/676174<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Ian Pritchard, \u2018Hacking the System: Italian Keyboard <em>Intavolatura <\/em>and Scribal Habit\u2019, in: \u2018<em>Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 42\u201365, &lt;<a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-hacking-the-system\/<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Ian Pritchard, \u2018Keyboard Thinking: Intersections of Notation, Composition, Improvisation and Intabulation in Sixteenth-Century Italy\u2019, PhD diss., University of Southern California, 2018, &lt;<a href=\"https:\/\/ianpritchardearlykeyboards.com\/wp-content\/uploads\/2020\/09\/ian_pritchard_dissertation.pdf\"><span class=\"Hyperlink\">https:\/\/ianpritchardearlykeyboards.com\/wp-&#173;content\/uploads\/2020\/09\/ian_pritchard_dissertation.pdf<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\"><em>Ravenna, Biblioteca comunale Classense, MS Classense 545<\/em>, Alexander Silbiger, ed. and introduction (New York\/London, 1987)<\/p>\n<p class=\"bibliography\">Francesco Rognoni Taeggio, <em>Selva de varii passaggi <\/em>(Milan: Filippo Lomazzo, 1620), facs. ed. (Bologna, 2012)<\/p>\n<p class=\"bibliography\">Cipriano de Rore, <em>Tutti i madrigali a quattro voci spartiti et accommodati<\/em> [\u2026](Venice: Angelo Gardano, 1577), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/111823\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/111823<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Alexander Silbiger, \u2018From Madrigal to Toccata: Frescobaldi and the <em>seconda prattica\u2019<\/em>, in: <em>Critica musica:<\/em> <em>Essays in Honor of Paul Brainard<\/em>, ed. John Knowles, Musicology 18 (Amsterdam, 1996), 403\u201328<\/p>\n<p class=\"bibliography\">Alexander Silbiger, \u2018Is the Italian Keyboard <em>Intavolatura<\/em> a Tablature?\u2019, in: <em>Recercare<\/em> 3 (1991), 81\u2013103<\/p>\n<p class=\"bibliography\">Alexander Silbiger, <em>Italian Manuscript Sources of 17th Century Keyboard Music <\/em>(Ann Arbor, 1980)<\/p>\n<p class=\"bibliography\">Gregorio Strozzi, <em>Capricci da sonare cembali et organi <\/em>(Naples: Novello de Bonis, 1687)<\/p>\n<p class=\"bibliography\">Giovanni Maria Trabaci, <em>Ricercate canzone francese capricci <\/em>[\u2026]<em> libro primo<\/em> (Naples: Costantino Vitale, 1603), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/421258\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/421258<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Giovanni Maria Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci<\/em> (Naples: Giovanni Giacomo Carlino, 1615), facs. repr. 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