{"id":8027,"date":"2026-07-06T15:15:38","date_gmt":"2026-07-06T13:15:38","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=8027"},"modified":"2026-07-06T16:08:08","modified_gmt":"2026-07-06T14:08:08","slug":"mdwp017-005","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-005\/","title":{"rendered":"Why Should One Build an Archicembalo?"},"content":{"rendered":"<h2 class=\"subtitle\">An Attempt at a Response According to Nicola Vicentino<\/h2>\n<h3 class=\"author\"><em>Martin Kirnbauer <a href=\"https:\/\/orcid.org\/0000-0001-5815-5898\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n.tsquotation {\n line-height: 1.4 !important;   \n}\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\nfigure {\n            margin: 0;\n }<\/p>\n<p> table {\n      line-height: 1.4;\n    border-collapse: collapse;\n    width: 100%;\nfont-family: inherit;\n  }<\/p>\n<p>table p {\n      margin: 0;\n    }\n  th, td {\n    border: 1px solid black;\n    padding: 8px;\n    text-align: left;\n    vertical-align: top;\n  }\n  thead tr {\n    background-color: #e0e0e0;\n }\n  th {\n    text-transform: none;\n  }\n    <\/style>\n<p><\/head><\/p>\n<p>&nbsp;<br \/>\n<div class=\"one_half\">\n<p style=\"text-align: left;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-004\/\" style=\"color:#000000 !important;\">&#129028;<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p 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id=\"zp-ID-8027-4511395-8W3VT8ZH\" data-zp-author-date='Kirnbauer-2026' data-zp-date-author='2026-Kirnbauer' 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\">Kirnbauer, Martin. 2026. \u201cWhy Should One Build an Archicembalo? An Attempt at a Response According to Nicola Vicentino.\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=8W3VT8ZH' 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\">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<p>This paper was shaped by two major research projects that were carried out at the Schola Cantorum Basiliensis in the last ten years. The first was \u2018Studio31\u2019 with a reconstruction of two keyboard instruments proposed by Nicola Vicentino in his treatise <em>L\u2019antica musica ridotta alla moderna prattica<\/em> (Rome, 1555): the <em>archicembalo <\/em>and the <em>arciorgano<\/em>, two keyboard instruments with 36&#160;keys per octave.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span> After having started the project, we decided not to build an <em>archicembalo<\/em> according to Vicentino (among other reasons, Marco Tiella lent us his reconstruction of the <em>archicembalo<\/em>, built in the 1970s). Instead we opted for a kind of new interpretation of the <em>clavemusicum omnitonum<\/em>, i.e. the only completely preserved harpsichord with 31&#160;keys per octave (although this instrument has a different story that has yet to be told).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> Since then, a reconstruction of Vicentino\u2019s <em>arciorgano<\/em> (Fig.&#160;1) and of the <em>clavemusicum omnitonum<\/em> (see Fig.&#160;2) in Basel have been available for further research and practical exploration. It can already be emphasised at this point that the presence and availability of the reconstructed instruments (especially Vicentino\u2019s <em>arciorgano<\/em>) was \u2013 and is \u2013 fundamental for reading and understanding Vicentino\u2019s treatise which is the focus of the second project \u2018Vicentino21\u2019. This project has the creation of a digital edition and translation (into German and English) of Vicentino\u2019s notorious treatise as its aim.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span> A team consisting of Luigi Collarile, David Gallagher, Johannes Keller, Anne Smith and me, began an intensive re-reading of Vicentino\u2019s treatise, which led to new insights and understanding of his ideas. In my contribution I would like to try to analyse the role of the <em>archicembalo<\/em>, described in detail by Vicentino in the treatise, and what the function of the instrument is. Before attempting to answer the question in the title, a few preliminary remarks on Nicola Vicentino, his treatise <em>L\u2019antica musica ridotta alla moderna prattica<\/em> and the instruments presented in it are necessary.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1-Arciorgano.jpg\" alt=\"A photograph of a wooden pipe organ with a single manual (keyboard) and vertical pipes arranged symmetrically. The instrument is placed in a room with wooden flooring and white walls, and a table with the bellows is positioned to its left.\" width=\"1000\" height=\"665\" class=\"alignnone size-full wp-image-8029\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1-Arciorgano.jpg 1000w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1-Arciorgano-300x200.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1-Arciorgano-150x100.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1-Arciorgano-768x511.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1-Arciorgano-850x565.jpg 850w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;1:<\/b> Reconstruction of Vicentino\u2019s <em>arciorgano<\/em> by \u2018Studio31\u2019 and Bernhard Fleig, Basel 2016 (Photo: Susanna Drescher).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2-Clavemusicum-omnitonum_Tastatur-frontal.jpeg\" alt=\"Close-up of a harpsichord-like instrument showing its wooden keyboard with multiple split keys and internal strings. The inscription \u201cMarkus Krebs \u00b7 2016\u201d appears above the keys, indicating the maker and year.\" width=\"1500\" height=\"996\" class=\"alignnone size-full wp-image-8030\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2-Clavemusicum-omnitonum_Tastatur-frontal.jpeg 1500w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2-Clavemusicum-omnitonum_Tastatur-frontal-300x199.jpeg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2-Clavemusicum-omnitonum_Tastatur-frontal-1024x680.jpeg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2-Clavemusicum-omnitonum_Tastatur-frontal-150x100.jpeg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2-Clavemusicum-omnitonum_Tastatur-frontal-768x510.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2-Clavemusicum-omnitonum_Tastatur-frontal-850x564.jpeg 850w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;1:<\/b> Reconstruction of the <em>clavemusicum omnitonum<\/em> by \u2018Studio31\u2019 and Markus Krebs, Schaffhausen 2016 (Photo: Susanna Drescher).<\/span><\/p>\n<p>Don Nicola Vicentino dei Vicentini (Fig.&#160;3), as he called himself, was probably born in Vicenza in 1510 (but this is not certain) and he must have been active in Venetian circles in which the ancient genres and their potential for modern music were discussed, especially in the circle of Willaert, as whose pupil he describes himself.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> In Venice, he applied in 1549 for a printing privilege for music \u2018in the two genera (long ago lost), that is, the enharmonic and chromatic\u2019 (\u2018de li dui generi [gia tanto tempo persi] cioe henarmonico et cromaticho\u2019).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> He explicitly states that he sings and plays them (\u2018cantar et sonar\u2019), which suggests the existence of an instrument capable of producing the fine subdivisions of the octave in instruments, and not only in singing.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3-31281c.jpeg\" alt=\"Engraved portrait of Nicola Vicentino in profile, wearing a cap and robes, surrounded by a Latin inscription. The lower text reads \u201cNicolas Vicentinus anno aetatis suae XXXIIII.\u201d\" width=\"1148\" height=\"1500\" class=\"alignnone size-full wp-image-8032\" style=\"width:65%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3-31281c.jpeg 1148w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3-31281c-230x300.jpeg 230w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3-31281c-784x1024.jpeg 784w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3-31281c-115x150.jpeg 115w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3-31281c-768x1003.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3-31281c-850x1111.jpeg 850w\" sizes=\"auto, (max-width: 1148px) 100vw, 1148px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;3:<\/b> Portrait of Nicola Vicentino dei Vicentini at the age of 44; frontispiece of Vicentino, <em>L\u2019antica musica<\/em>, fol.&#160;[A1<span class=\"Hochgestellt\">v<\/span>].<\/span><\/p>\n<p>This specialisation led him to Rome in the service of the powerful cardinal Ippolito&#160;II d\u2019Este, who was \u2018papabile\u2019 several times, and the famous dispute with Vicente Lusitano in the spring of 1551. This dispute \u2013 behind which also lay a power struggle between competing cardinals \u2013, which Vicentino is known to have lost, influenced and inspired the publication of his notorious treatise <em>L\u2019antica musica ridotta alla moderna prattica<\/em> (Rome: Antonio Barr\u00e8 1555). According to Claude Palisca, this was \u2018one of the most famous books in the history of music theory and one of the least read\u2019.<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>The colophon of the treatise is dated the day after the election of Pope Paul&#160;IV, an ardent opponent of Vicentino\u2019s patron Ippolito d\u2019Este, who was immediately sent into exile. Vicentino had to leave Rome together with his patron, never to return, which could explain the failed \u2018marketing\u2019 of slightly differing printed versions and editions of his voluminous treatise. Vicentino\u2019s further life is irrelevant for the topic of this paper, and we do not know all his later positions apart from his being <em>maestro di cappella<\/em> in Venice, Vicenza and then in Milan, where he was called by Cardinal Carlo Borromeo; he died there of the plague in 1577.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4-Vicentino21_0003.jpeg\" alt=\"A page of an Italian printed document from 1561, published in Venice by Nicolo Bevil\u2019acqua. The text discusses Niccol\u00f2 Vicentino\u2019s invention of the Archicembalo, a microtonal keyboard instrument.\" width=\"1394\" height=\"2036\" class=\"size-full wp-image-8031\" style=\"width:65%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4-Vicentino21_0003.jpeg 1394w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4-Vicentino21_0003-205x300.jpeg 205w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4-Vicentino21_0003-701x1024.jpeg 701w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4-Vicentino21_0003-103x150.jpeg 103w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4-Vicentino21_0003-768x1122.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4-Vicentino21_0003-1052x1536.jpeg 1052w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4-Vicentino21_0003-850x1241.jpeg 850w\" sizes=\"auto, (max-width: 1394px) 100vw, 1394px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;4:<\/b> Titlepage of Vicentino, <em>L\u2019antica musica<\/em>, fol.&#160;[A1<span class=\"Hochgestellt\">r<\/span>].<\/span><\/p>\n<p><em>L\u2019antica musica<\/em> is a lavishly printed and extensive treatise of 152&#160;folios in small folio format, dedicated to Vicentino\u2019s patron Ippolito d\u2019Este (Fig.&#160;4). The title \u2018Ancient music adapted for modern practice\u2019 very clearly describes its content, although this title was and still is often misunderstood; it is not a treatise on music theory, or more precisely a scholarly contribution to the music theory of antiquity, on the contrary, Vicentino was interested only in the \u2018moderna prattica\u2019 and accordingly he writes about many aspects of the musical practice of his time. He also provides rare first-hand information about composition and performance practice of conventionally composed music. But at the centre is \u2018nostra prattica\u2019, by which he means above all the use of a much larger number of pitches. Vicentino calls these the \u2018gran ricchezza de i gradi\u2019 \u2013 \u2018the great wealth of steps\u2019, embedded within the demands of the polyphony of his time, which he made audible and measurable in the form of a musical instrument, his so-called <em>archicembalo<\/em>.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span> This instrument is highlighted prominently on the title page of the treatise (cf. Fig.&#160;4) announcing the invention of a new instrument, which contains within it all perfect music, with many musical secrets (\u2018con l\u2019inventione di uno nuovo stromento, nelquale si contiene tutta la perfetta musica, con molti segreti musicali\u2019). One of the six books of the treatise is devoted to the practice of the instrument, he calls <em>archicembalo<\/em> (\u2018sopra la Prattica del stromento, da lui detto Archicembalo\u2019).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> At the beginning of this book, Vicentino describes in detail how to build the harpsichord with 36&#160;pitches in the octave with very practical building instructions, including three foldout woodcuts for the instrument builder with the design of the keyboard, keys and key-lever, and the wrestplank with the position of the tuning pins and jack guides (Fig.&#160;5). With these detailed specifications an <em>archicembalo<\/em> can be built by every experienced instrument maker (\u2018ogni Prattico de fare stromente\u2019), as Vicentino claims.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/span> But why build an <em>archicembalo<\/em> at all?<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed.jpg\" alt=\"Technical drawing showing the structure of a harpsichord keyboard with labelled keys and pitch notation in flats and sharps. Includes sections marked \u201clower manual,\u201d \u201cupper manual,\u201d and \u201cwrestplank,\u201d along with measurement scales.\" width=\"1653\" height=\"2339\" class=\"alignnone size-full wp-image-8034\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed.jpg 1653w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed-212x300.jpg 212w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed-724x1024.jpg 724w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed-106x150.jpg 106w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed-768x1087.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed-1086x1536.jpg 1086w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed-1447x2048.jpg 1447w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/5-disegno_ed-850x1203.jpg 850w\" sizes=\"auto, (max-width: 1653px) 100vw, 1653px\" \/><\/p>\n<div>\n<span class=\"caption-text\"><b>Fig.&#160;5<\/b>: CAD drawing of the assembled woodcuts for the keyboard of the <em>archicembalo<\/em> from the appendix of Vicentino, <em>L\u2019antica musica<\/em> by \u2018Vicentino21\u2019 (Jacqueline Benzinger, Architekturb\u00fcro Werner Keller).<\/span><\/p>\n<p>Several attempts have already been made to answer this question in the secondary literature, wherein it becomes evident that a certain obsession with tunings and temperaments has been cultivated within the field of musicology. I now would like to present a few prominent stances:<\/p>\n<p>Patrizio Barbieri, in his magistral study on <em>Enharmonic instruments and music<\/em>, asks the question \u2018Why enharmonic keyboards?\u2019 and gives three categories:<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/span><\/span><\/p>\n<ul>\n<li class=\"Normal_Aufz\">transpositions of church modes and the increasing spread of their \u2018major mode\u2019 version<\/li>\n<li class=\"Normal_Aufz\">the revival of the ancient Greek enharmonic genus<\/li>\n<li class=\"Normal_Aufz\">the \u2018stylus metabolicus\u2019, later \u2018enharmonic of the Italians\u2019 (for which I coined the term \u2018vielt\u00f6nig\u2019 as a tag for this context \u2013 see below).<\/li>\n<\/ul>\n<p>For Vicentino, Barbieri explicitly refers here to the latter\u2019s intention of a \u2018revival of chromatic and enharmonic genera\u2019; at the same time he criticises that Vicentino \u2018did not strictly respect the original tetrachordal form of the three Greek genera, but instead mixed them together\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/span><\/span> Barbieri goes on to present the <em>archicembalo<\/em> in detail in the chapter \u2018ETS 31: Vicentino\u2019s <em>archicembalo<\/em>\u2019 (\u2018ETS\u2019 stands for \u2018Equal Tempered System\u2019 also known as \u2018EDO\u2019 or \u2018Equal Division of the Octave\u2019), i.e. as an instrument with which a closed cycle of fifths is possible through \u2018an equal multiple division\u2019 of the octave into 31&#160;equal parts. Here Barbieri cites the description of the <em>archicembalo<\/em> by Francesco de Salinas in <em>De musica libri septem<\/em> (Salamanca: Mathias Gastius, 1577):<\/p>\n<blockquote>\n<p class=\"tsquotation\">\u00e0 quibusd[am] magni nominis Musicis in precio habitum, &amp; vsu receptu[m]; e\u00f2 qu\u00f2d omnis in eo sonus habet omnia interualla, atque omnes consonantias (vt sibi videntur) infern\u00e8, &amp; supern\u00e8, &amp; post certam periodum ad eundem, aut \u00e6quiualentem sibi sonum post 31 interualla reditur.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/span><\/span><\/p>\n<p class=\"tsquotation\">(\u2018esteemed and accepted in practice by certain famous musicians, for the fact every one of its notes can command any interval and any consonance \u2013 as they claim \u2013 both above and below, and that every interval, after 31 repeats, returns with a specific periodicity to the starting note or to one equivalent to it\u2019.)<\/p>\n<\/blockquote>\n<p>But in Vicentino\u2019s treatise, the possibility of a circular tuning does not seem to have interested him; there is no mention of this anywhere, unlike in later research.<\/p>\n<p>In a similar direction to Barbieri, Nicolas Me\u00e9us in his <em>New Grove<\/em> article on \u2018Enharmonic keyboard\u2019 writes:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Such keyboards may serve various purposes, to make available mean-tone temperament in tonalities involving more than two flats or three sharps; to make possible the playing of a number of chords in Just intonation; and to produce microtones.<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>Me\u00e9us explicitly assigns Vicentino\u2019s approach to the third category: <\/p>\n<blockquote>\n<p class=\"tsquotation\">Nicola Vicentino [\u2026] appears to have been one of the very few Renaissance or Baroque theorists to realize that the best purpose of an enharmonic keyboard would be the playing of microtones, and some of his compositions use the quarter-tone as a melodic interval.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/span><\/span><\/p>\n<\/blockquote>\n<p>This deduction seems to me to be ahistorical, since the concept of \u2018microtones\u2019 (as well as \u2018quartertones\u2019) was only developed in much later times (especially in the 20th&#160;century) and is inappropriate in the thought and sound world of the 16th&#160;century. This is why I have argued to use less historically loaded terms for this purpose, i.e. \u2018vielt\u00f6nig\u2019 (literally, \u2018many-toned\u2019 or \u2018multitonal\u2019) or \u2018Vielt\u00f6nigkeit\u2019 (as a noun) to describe music that, in its conceptual and structural design, employs more than twelve pitches per octave \u2013 leaving open for the time being what the concrete occasion for the respective \u2018Vielt\u00f6nigkeit\u2019 is.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/span><\/span><\/p>\n<p>A few years before the publication of Barbieri\u2019s book, Rudolf Rasch asked the same question and begins his answer with the earliest instrument known to him, the <em>archicembalo<\/em>.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/span><\/span> Rasch begins with a description of Vicentino\u2019s approach. This differs from that of the ancient tetrachords, i.e. with the division of the diatonic semitone by means of the chromatic semitone, resulting in either the sequence chromatic semitone \u2013 <em>diesis<\/em>, or <em>diesis<\/em> \u2013 chromatic semitone. In the end this leads to a division of the diatonic semitone into three more or less equal intervals. This concept had enormous consequences, \u2018since it makes the generalization over the entire keyboard possible\u2019. Rasch concludes: <\/p>\n<blockquote>\n<p class=\"tsquotation\">So Vicentino\u2019s motivation for building the archicembalo may be summarized in the following succinct phrase: the archicembalo was constructed in order to make audible the enharmonic pitches of Greek music theory.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/span><\/span><\/p>\n<\/blockquote>\n<p>This is more cautious than Barbieri\u2019s formulation, but leaves open the question of what Vicentino intended with the \u2018enharmonic pitches of Greek music theory\u2019, apart from the fact that Vicentino knew and used many other smaller \u2018gradi\u2019 (or steps) which he called \u2018propinque\u2019 or even \u2018propinquissime\u2019 (see below), that cannot be systematized, nor has Vicentino tried to do so.<\/p>\n<p>This leads to the classic \u2018chicken-and-egg question\u2019: did Vicentino design his instrument after he had developed his ideas and musical concepts based on the revival of ancient genera? Or vice versa, i.e. did he first develop the instrument and then its possible uses? In my attempt to answer this question, I propose to approach it differently and place Vicentino\u2019s perspective at the centre. In addition, I would like to separate the egg from the chicken (so to speak), or the hardware from the software, i.e. the instrument from what Vicentino did with it \u2013 and also ask what was before the chicken or the egg.<\/p>\n<p>The motivation and beginning of Vicentino\u2019s interest can be traced back to the then current and fashionable interest in the Greek genera, which is documented since the end of the 15th century, especially in Italy.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/span><\/span> In this context, we should consider Vicentino\u2019s teacher Adrian Willaert and the discussions about antique genera and their use in Venice and its environs. A prime example of this are letters in the Spataro correspondence from autumn 1532. They report conversations in the house of the English ambassador in Venice in the presence of Willaert, discussing the question, if \u2018in view of the marvellous effects ascribed to ancient Greek music \u2013 compositions could be written in other than the common diatonic genus\u2019 (\u2018se el se poteva comporre canti per altri generi che per el genere diatonico usitato\u2019).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/span><\/span> It is therefore quite conceivable that Willaert\u2019s circle actually tried to use the other genera in practice and to explore their musical possibilities.<\/p>\n<p>Interest in the Greek genera is also reflected in the earliest document of Vicentino\u2019s activities in this regard, namely the Venetian printing privilege of 1549 as mentioned above, and also in the title lines of his treatise, \u2018con la dichiaratione, et con gli essempi de i tre generi, con le loro spetie\u2019 (\u2018with an explanation and examples of the three genera with their species\u2019, cf. Fig.&#160;4). But reading Vicentino\u2019s treatise, he already states in his extremely short book on theory (covering only 8&#160;pages of 270&#160;pages in all), that much of the music theory of the ancient is not applicable to today\u2019s practice, which is why he does not discuss it (\u2018Hauiamo lasciato \u00e0 dire tutte queste cose per non ci essere hoggi utile alcuno alla nostra prattica [\u2026]\u2019).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/span><\/span> Noteworthy is Vicentino\u2019s observation that the qualities of contemporary music, which are in principle higher, cannot come to the fore because among other reasons it is heard too often and \u2018because of its abundance, it is afforded little esteem\u2019 (\u2018&amp; ne loro tempi erano tenute bonissime, per il che si conclude molto piu sapersi di Musica ne I nostri tempi che innanzi, ma per la abbondanza di quella esserne fatta poca stima\u2019).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/span><\/span><\/p>\n<p>Vicentino describes the three genera and their species only to motivate the multiplicity of accidentals and thus the \u2018gradi\u2019 (steps) \u2013 introduced shortly after the beginning of the following First Book of Musical Practice. In a spectacular list at the end of this book called the \u2018arbore delle proportoni &amp; delle diuisioni\u2019 (fol.&#160;26<span class=\"Hochgestellt\">v<\/span>; Fig.&#160;6), he introduces not only the smaller subdivisions of the <em>semitono<\/em>, for which he introduced what he calls his \u2018inuentione\u2019 (i.e. invention or device) of dots placed above the notes designating a half of a <em>semitono minore<\/em>,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/span><\/span> but also different types of <em>diesis<\/em> and an even smaller <em>comma<\/em> (as a kind of smallest unit). <\/p>\n<p>Remarkable here is the category of \u2018propinque\u2019 (literally close or related), which means that the step is a little bit larger (by about a \u2018diesis enarmonico minore\u2019) than the \u2018normal\u2019 step and can be used for aesthetic reasons. In the Vicentino21-team we called this \u2018precise, but not exact\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054.jpeg\" alt=\"\" width=\"1394\" height=\"2102\" class=\"size-full wp-image-8035\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054.jpeg 1394w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054-199x300.jpeg 199w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054-679x1024.jpeg 679w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054-99x150.jpeg 99w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054-768x1158.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054-1019x1536.jpeg 1019w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054-1358x2048.jpeg 1358w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/6-Vicentino21_0054-850x1282.jpeg 850w\" sizes=\"auto, (max-width: 1394px) 100vw, 1394px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;6:<\/b> \u2018arbore delle proportoni &amp; delle diuisioni\u2019 in Vicentino, <em>L\u2019antica musica<\/em>, I.42 (fol.&#160;26<span class=\"Hochgestellt\">v<\/span>).<\/span>\t<\/p>\n<p>This supposed terminological blurring clearly demonstrates how a concept is pragmatically expanded by the reality of the instrument and access via the keyboard, unlocking a new kind of aesthetic potential. At the same time, it can also be experienced and understood in practice. Accordingly, Vicentino \u2018declines\u2019 all possible pitches and intervals of his instrument in the fifth and last book \u2018On the Practice of the Instrument, called by him <em>Archicembalo<\/em>\u2019 (\u2018sopra la prattica del stromento, da lui detto Archicembalo\u2019) presenting them in long lists of note examples. If you have the instrument at hand, this huge tonal variety can also be understood and experienced through the senses (Fig.&#160;7 from chapter V.38) with \u2018all the consonances of <em>Bfa<\/em><span class=\"Symbol\">\u266d<\/span><em>mi acuto quinto<\/em> [<span class=\"Symbol\">\u266d<\/span><span class=\"Sonderzeichen\">\u1e02<\/span>] descending with their <em>propinque<\/em> and <em>propinquissime<\/em>, and the same of <em>Bmi quinto<\/em> [<span class=\"Symbol\">\u266d<\/span><span class=\"Sonderzeichen\">\u1e02<\/span>] ascending through an <em>ottava<\/em>\u2019 [\u2018tutte le consonanze di B fa b mi quinto discendenti con tutte le sue propinque &amp; propinquissime, &amp; il simile di B mi quinto ascendente per una Ottaua\u2019]).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/span><\/span> The reader is invited to visualise the individual intervals through the music examples, to play them on the instrument, and thereby to experience and to memorise them sensually.<\/p>\n<p><span class=\"caption-text\"><b>Fig.&#160;7:<\/b> \u2018tutte le consonanze di B fa b mi quinto discendenti con tutte le sue propinque &amp; propinquissime, &amp; il simile di B mi quinto ascendente per una Ottaua\u2019, in Vicentino, <em>L\u2019antica musica<\/em>, V.38 (fol. 118<span class=\"Hochgestellt\">v<\/span>) in the edition of <em>Vicentino21<\/em>: a) digital representation of the original music example and b) transcription in modern notation and clefs with c) video of the presentation on the <em>arciorgano<\/em> (Johannes Keller \u2013 Vicentino21).<\/span><\/p>\n<p><span class=\"caption-text\"><b>a)<\/b><\/span><br \/>\n<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7a-b5-c38-m1-norm-it-origclef.jpg\" alt=\"Musical examples containing the different kinds of consonances with their propinque and propinquissime. Fig. 7a is in Italian with the original clefs, fig. 7b is the English translation with modern clefs.\" width=\"1153\" height=\"936\" class=\"alignnone size-full wp-image-8036\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7a-b5-c38-m1-norm-it-origclef.jpg 1153w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7a-b5-c38-m1-norm-it-origclef-300x244.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7a-b5-c38-m1-norm-it-origclef-1024x831.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7a-b5-c38-m1-norm-it-origclef-150x122.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7a-b5-c38-m1-norm-it-origclef-768x623.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7a-b5-c38-m1-norm-it-origclef-850x690.jpg 850w\" sizes=\"auto, (max-width: 1153px) 100vw, 1153px\" \/><\/p>\n<p><span class=\"caption-text\"><b>b)<\/b><\/span><br \/>\n<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7b-b5-c38-m1-norm-en.jpg\" alt=\"Musical examples containing the different kinds of consonances with their propinque and propinquissime. Fig. 7a is in Italian with the original clefs, fig. 7b is the English translation with modern clefs.\" width=\"1153\" height=\"910\" class=\"alignnone size-full wp-image-8037\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7b-b5-c38-m1-norm-en.jpg 1153w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7b-b5-c38-m1-norm-en-300x237.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7b-b5-c38-m1-norm-en-1024x808.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7b-b5-c38-m1-norm-en-150x118.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7b-b5-c38-m1-norm-en-768x606.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/7b-b5-c38-m1-norm-en-850x671.jpg 850w\" sizes=\"auto, (max-width: 1153px) 100vw, 1153px\" \/><\/p>\n<p><span class=\"caption-text\"><b>c)<\/b><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8027-1\" width=\"850\" height=\"213\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_v_.mp4?_=1\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_v_.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_v_.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video i:<\/b> The four [descending] <em>terze<\/em><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8027-2\" width=\"850\" height=\"213\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_ii_.mp4?_=2\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_ii_.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_ii_.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video ii:<\/b> <em>Quinta<\/em><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8027-3\" width=\"850\" height=\"213\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_iii_.mp4?_=3\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_iii_.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_iii_.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video iii:<\/b> The four [descending] <em>seste<\/em><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8027-4\" width=\"850\" height=\"213\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_iv_.mp4?_=4\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_iv_.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_iv_.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video iv:<\/b> <em>Ottava<\/em><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8027-5\" width=\"850\" height=\"213\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_v_.mp4?_=5\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_v_.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_v_.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video v:<\/b> The four [ascending] <em>terze<\/em><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8027-6\" width=\"850\" height=\"213\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_vi_.mp4?_=6\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_vi_.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_vi_.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video vi:<\/b> <em>Quinta<\/em><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8027-7\" width=\"850\" height=\"213\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_vii_.mp4?_=7\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_vii_.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video_vii_.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video vii:<\/b> The four [ascending] <em>seste<\/em><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8027-8\" width=\"850\" height=\"213\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-viii-.mp4?_=8\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-viii-.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-viii-.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video viii:<\/b> <em>Ottava<\/em><\/span><\/p>\n<p>The key point is that, with reference to his <em>archicembalo<\/em>, all these intervals are declared both singable and usable. Vicentino has, so to speak, created a taxonomy of all the intervals that can be distinguished and heard through his instrument, effectively creating a kind of acoustical microscope. Immediately upon introducing these many intervals and steps, Vicentino refers to the explanation and examples in the Fifth Book, stating that <\/p>\n<blockquote>\n<p class=\"tsquotation\">Et tal prattica non ti paia strana in questo principio, perche queste diuisioni meglio l\u2019intenderai nel quinto libro da molti essempi accompagnato sopra tal diuisione, &amp; pi\u00f9 ti far\u00e0 capace il nostro instrumento, detto Archicembalo, che ti mouera pi\u00f9 l\u2019essempio accompagnato dalla prattica, che gli essempi scritti &amp; accompagnati con parole non fanno.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/span><\/span> <\/p>\n<p class=\"tsquotation\">(\u2018This practice should not seem strange to you in this beginning, as you will better understand these divisions [later] in the Fifth Book from many accompanied examples on this division. And our instrument, called the <em>archicembalo<\/em>, will make you more competent, because an example accompanied by practice will sway you more than written examples accompanied by words.\u2019)<\/p>\n<\/blockquote>\n<p>A few lines later, in the context of teaching how to sing the subtle steps via scaled-down traditional solmisation he explains the \u2018Vielt\u00f6nigkeit\u2019 in relation to the keyboard of his instrument:<\/p>\n<blockquote>\n<p class=\"tsquotation\">&amp; non sar\u00e0 fuore della regola Cromatica nominare ut. re. mi. fa. sol. la. in ogni riga, &amp; in ogni spatio, &amp; come le mutationi uengano piu commode al cantante; Ma queste mutationi, lo nostro instrumento li certificar\u00e0, come in esso appareno, che in ogni luogo delli tasti si pu\u00f2 dir ut. re. mi. fa. sol. la. scritti con li segni delli semitoni, &amp; delli Diesis Enarmonici<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/span><\/span><\/p>\n<p class=\"tsquotation\">(\u2018And it would not be outside the chromatic rule to utter <em>ut, re, mi, fa, sol, la<\/em> in every line and in every space [sc. of the staves], so that the mutations become more convenient for the singer. But our instrument [<em>archicembalo<\/em>] will confirm these mutations by the way they appear on it, because in every position of the keys one can say <em>ut, re, mi, fa, sol, la<\/em>, written with the signs of the <em>semitoni<\/em> and of the <em>diesis enarmonici<\/em>.\u2019)<\/p>\n<\/blockquote>\n<p>Perhaps this can be misunderstood as a kind of technical extension of the tonal range resulting from the design of the instrument and its keyboard. But Vicentino goes much further in supporting the use of all intervals aesthetically. Already in the First Book of Musical Practice, he muses on the imperfection of things and the duty of every good artisan, to adorn the defects through their skill:<\/p>\n<blockquote>\n<p class=\"tsquotation\">cos\u00ec auiene nella prattica Musicale, che si uede l\u2019ordine naturale mancare in molte cose, et con gli accidenti, di aggiugnere et minuire alli gradi naturali, si f\u00e0 un grandissimo acquisto, di poter usare in ogni luogo, ogni sorte di consonanze, come si uedr\u00e0 nel nostro Archicembalo, quanta ricchezza de gradi, in quello si h\u00e0 racquistata, et cos\u00ec anchora nella prattica del cantare, come per questa mia fatica la esperienza ne far\u00e0 ogniuno certissimo, et se tal abondantia de gradi \u00e8 tanto utile: [\u2026]<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 class=\"tsquotation\">(Thus it happens in the musical practice that one sees the natural order is lacking in many things, and with the accidentals for adding to or decreasing [the number of] the natural steps, one has made a very great acquisition, which one can use any place and for any sort of consonance; just like one sees in our <em>archicembalo<\/em> what a wealth of steps has been recovered in it, and also in the practice of singing, where due to my effort, anybody may make the most certain experience of whether the abundance of steps is so useful.)<\/p>\n<\/blockquote>\n<p>Elsewhere, in the context of composing not only in eight diatonic modes (or scales), but also in eight chromatic and enharmonic modes, Vicentino writes that the composer<\/p>\n<blockquote>\n<p class=\"tsquotation\">haur\u00e0 modi di comporre con tanta ricchezza de gradi, &amp; di uarie spetie insieme adunati, con uariet\u00e0 di procedere, che sar\u00e0 cosa marauigliosa all\u2019Oditore, per le tante differenze de gradi commisti.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/span><\/span><\/p>\n<p class=\"tsquotation\">(\u2018will have ways of composing with so great a wealth of steps and of various species gathered together, with such a variety of ways to proceed, that it will be a marvelous thing for the listener, because of the mixture of so many different steps.\u2019)<\/p>\n<\/blockquote>\n<p>This is also where the listeners come into play, because, according to Vicentino, the purpose of the music is ultimately to convince them and to satisfy the ear (\u2018adunque il fine della Musica \u00e8 di satisfare \u00e0 gl\u02bcorecchi.\u2019).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/span><\/span> To explore this variety of intervals and gain practical musical experience, an appropriately equipped instrument, the <em>archicembalo<\/em> or <em>arciorgano<\/em>, is needed, perhaps comparable to a catalyser or interface.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/span><\/span><\/p>\n<p>Although concrete evidence is sparse, presumably earlier instruments (monochords, as well as keyed monochords, i.e. clavichords, and harpsichords) were set up  for the practical implementation of the genera, as well as for acoustic reference or as research devices.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a><\/span><\/span> In the literature, a \u2018chordotonum\u2019 is mentioned by Franchino Gaffurio in his treatise <em>Practica musica<\/em> of 1496, perhaps referring only to a hypothetical monochord designed for finding the notes of the enharmonic genus.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a><\/span><\/span> However, a real instrument was the \u2018manocordio\u2019, described by John Hothby, a Lucca-based English theorist and composer, who died in 1487. It featured additional red upper keys (\u2018tasti rossi\u2019) for so-called enharmonic notes (such as a<span class=\"Hochgestellt\">#<\/span>, e<span class=\"Hochgestellt\">#<\/span>, or b<span class=\"Hochgestellt\">#<\/span>), alongside the normal \u2018tasti bianchi\u2019 for the diatonic and \u2018tasti neri\u2019 for the chromatic keys.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a><\/span><\/span> Hothby explained the necessity of these additional keys in relation to the different sizes of the semitone (<em>semitonio maggiore<\/em>, <em>semitonio minore<\/em>, <em>semitonio minime<\/em>) and connected them to the chromatic and enharmonic genera, referring to two species of the tetrachord as described in ancient Greek theory. He referred to his clavichord as a \u2018true master of all music\u2019 (\u2018el monochordia e vero maestro di tuta la musica\u2019) because, in Hothby\u2019s view,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a><\/span><\/span> of its ability to produce all the necessary pitches for any kind of music. However, Hothby oriented himself according to Pythagorean tuning, which made the instrument unsuitable for musical practice in his time \u2013 in distinct contrast to Vicentino.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a><\/span><\/span><\/p>\n<p>The basic design of the keyboard as described by Hothby would later be called \u2018cimbalo cromatico\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a><\/span><\/span> Although it seems obvious to assume that split keys \u2013 used sporadically for tuning and temperament reasons on keyboard instruments from the second half of the 15th century \u2013 served as a makeshift solution to the limitation of only 12&#160;keys per octave, they were also likely applied for all semitones on a keyboard. However, there is no concrete evidence of such an instrument before the middle of the 16th century and thus before the activities of Vicentino. Zarlino in 1558 claimed that the construction of such an instrument occurred as early as 1548.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a><\/span><\/span> But he is not necessarily a credible witness here, as he was also a student of Willaert and an aspirant to succeed him, clearly in competition with Vicentino, who had published his treatise three years prior.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a><\/span><\/span> In any case, Vicentino can claim to be the first to have combined two <em>cimbali cromatici<\/em> for his <em>archicembalo<\/em> by placing, so to speak, one on top of the other.<\/p>\n<p>The instrument thus functioned as a catalyst, triggering and accelerating further development by making concrete listening experiences possible. It also made the many intervals and steps nameable and accessible in a very practical way via the keyboard, functioning here as an interface. On this basis, Vicentino developed new musical and previously unheard-of possibilities for \u2018nostra prattica\u2019. It was neither an interest in ETS31, in microtones or quarter-tones, nor the antiquarian revival of chromatic and enharmonic genres, that led him to \u2018invent\u2019 the <em>archicembalo<\/em>, although these latter were probably already in Vicentino\u2019s mind earlier. But as soon as the instrument was available, the concrete experiences made completely different musical realities possible. This is also confirmed by the <em>arciorgano<\/em> built in 1561, as can be seen from the advertising leaflet published for it (Fig.&#160;8).<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><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-scaled.jpg\" alt=\"Printed Italian broadsheet from 1561 announcing Nicola Vicentino\u2019s Arciorgano. The text, arranged in a single dense column, describes the instrument\u2019s construction, tuning, and expressive capabilities. The document was printed in Venice by Nicolo Bevil\u2019acqua, as indicated at the bottom line, and shows signs of age such as foxing, creases, and minor edge wear.\" width=\"1889\" height=\"2560\" class=\"alignnone size-full wp-image-8054\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-scaled.jpg 1889w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-221x300.jpg 221w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-755x1024.jpg 755w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-111x150.jpg 111w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-768x1041.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-1133x1536.jpg 1133w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-1511x2048.jpg 1511w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/8-C032_002-850x1152.jpg 850w\" sizes=\"auto, (max-width: 1889px) 100vw, 1889px\" \/><br \/>\n<span class=\"caption-text\"><b>Fig.&#160;8:<\/b> Advertising sheet of the <em>arciorgano<\/em>, Venice 1561 (Museo internazionale e biblioteca della musica di Bologna, C.32).<\/span><\/p>\n<p>In the list of advantages, the three <em>genera<\/em> are mentioned only briefly and in passing; where at the centre of this \u2018organo Perfetto\u2019 are (again and to mention only a few) <\/p>\n<ul>\n<li class=\"Normal_Aufz\">\u2018the richness of <em>armonia<\/em>, and of steps it has with so many pitches added to the keyboard of the common organ, that they [the common organs] all lack\u2019 (\u2018la richezza dell\u2019armonia, e di gradi che ha con tante corde aggiunte alla tastatura del comune orgono, che tutte mancauano\u2019; line&#160;19)<\/li>\n<li class=\"Normal_Aufz\">the \u2018many gradations of accents which can be found among the keys, accommodated to various kinds of pronunciation, similar to the human pronunciation\u2019 (\u2018molti gradi d\u2019accenti che fra tasti si ritrouano, accommodati, a varie sorti di pronuntie, simili alla pronuntia humana\u2019; line&#160;25)<\/li>\n<li class=\"Normal_Aufz\">\u2018to learn to play, and to sing the pronunciations of the passions of words\u2019 (\u2018da imparare a sonare, &amp; a cantare le pronuntie delle passioni delle parole\u2019; lines 45-46)<\/li>\n<li class=\"Normal_Aufz\">and \u2018to set a music to be recited by a single singer with the instrument (\u2018da comporre vna Musica da far recitar, ad vn cantor solo con l\u2019instrumento\u2019; line&#160;51).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a><\/span><\/span><\/li>\n<\/ul>\n<p>In addition to the other advantages emphasized by Vicentino \u2014 such as the ability to better accompany singers and other instruments with flexible tuning, allowing performers to move beyond the constraints of meantone tuning when using a keyboard instrument, and adjust slightly to enhance the tuning of certain chords \u2014 the goal of linking music theory and practice is also clear here. His ideas resonate far into the future and, in my opinion, provide more than enough motivation to build an <em>archicembalo<\/em> or <em>arciorgano<\/em>.<\/p>\n<h4>Endnotes<\/h4>\n<hr class=\"HorizontalRule-1\" \/>\n<ol>\n<li id=\"fn1\">\n<p>&lt;<a href=\"https:\/\/www.fhnw.ch\/de\/forschung-und-dienstleistungen\/musik\/hochschule-fuer-musik-klassik\/projekte\/studio-31\"><span class=\"Hyperlink\">https:\/\/www.fhnw.ch\/de\/forschung-und-dienstleistungen\/musik\/hochschule-fuermusik-klassik\/projekte\/studio-31<\/span><\/a>&gt; (accessed on 26&#160;August 2024); &lt;<a href=\"https:\/\/www.projektstudio31.com\/\"><span class=\"Hyperlink\">https:\/\/www.projektstudio31.com\/<\/span><\/a>&gt; (accessed on 26&#160;August 2024); see also the contributions in Martin Kirnbauer (ed.),<em> Zwischen Vielt\u00f6nigkeit und Mikrotonalit\u00e4t. Materialen und Beitr\u00e4ge aus dem Forschungsprojekt \u2018Studio31\u2019<\/em>, Schola Cantorum Basiliensis Scripta 10 (Basel, 2024), &lt;<a href=\"https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2\"><span class=\"Hyperlink\">https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2<\/span><\/a>&gt;.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Cf. Johannes Keller, \u2018Das Basler <em>Arciorgano<\/em> und <em>Clavemusicum omnitonum<\/em>\u2019, in: Kirnbauer (ed.), <em>Zwischen Vielt\u00f6nigkeit und Mikrotonalit\u00e4t<\/em> (see n.&#160;1), 137\u201370; in particular to the <em>clavemusicum omnitonum<\/em> see David Gallagher, \u2018Vicentino\u2019s missing music\u2019, in: ibid., 9\u201384, at 82\u20134.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>&lt;<a href=\"https:\/\/www.fhnw.ch\/plattformen\/vicentino21\/\"><span class=\"Hyperlink\">https:\/\/www.fhnw.ch\/plattformen\/vicentino21\/<\/span><\/a>&gt; (accessed on 26&#160;August 2024); &lt;<a href=\"https:\/\/vicentino21.ch\/\"><span class=\"Hyperlink\">https:\/\/vicentino21.ch\/<\/span><\/a>&gt; (accessed on 26&#160;August 2024). Unless otherwise stated, all translations are by the author or \u2018Vicentino21\u2019, when quoting from Vicentino\u2019s texts..<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>For references for the following biographical information see Davide Daolmi, \u2018Vicentino, Nicola\u2019, in: <em>Dizionario Biografico degli Italian<\/em>i 99 (2020), &lt;<a href=\"https:\/\/www.treccani.it\/enciclopedia\/nicola-vicentino_(Dizionario-Biografico)\/\"><span class=\"Hyperlink\">https:\/\/www.treccani.it\/enciclopedia\/nicola-vicentino_(Dizionario-Biografico)\/<\/span><\/a>&gt; (accessed on 26&#160;August 2024); Martin Kirnbauer, \u2018Nicola Vicentino (1510\u20131577) \u2013 Ein biographischer Abriss\u2019, in: idem (ed.), <em>Zwischen Vielt\u00f6nigkeit und Mikrotonalit\u00e4t<\/em> (see n.&#160;1), 3\u20138.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Richard J. Agee, \u2018The Privilege and Venetian Music Printing in the Sixteenth Century\u2019, PhD diss., Princeton University, 1982, 101\u20132, 179, 222\u20133; the quote on p.&#160;202.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Claude V. Palisca, \u2018Foreword by the Series Editor\u2019, in: <em>Nicola Vicentino, Ancient Music Adapted to Modern Practice<\/em>, trans. by Maria Rika Maniates, Music Theory Translation Series (New Haven\/London, 1996), vii\u2013viii, at vii.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Nicola Vicentino, <em>L\u2019antica musica ridotta alla moderna prattica<\/em> (Rome: Antonio Barr\u00e8 1555), III.44.2 (fol.&#160;61<span class=\"Hochgestellt\">v<\/span>); Vicentino\u2019s treatise is cited according to the following principle: Book.chapter.paragraph-subparagraph (fol. indication), as it is also used in the digital edition <em>Vicentino21<\/em> (&lt;<a href=\"https:\/\/vicentino21.ch\/\"><span class=\"Hyperlink\">https:\/\/vicentino21.ch<\/span><\/a>&gt;).<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Ibid.,V.1.title (fol.&#160;99<span class=\"Hochgestellt\">r<\/span>).<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Ibid., V.2.1 (fol.&#160;100<span class=\"Hochgestellt\">r<\/span>).<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Patrizio Barbieri, <em>Enharmonic Instruments and Music 1470\u20131900. Revised and Translated Studies<\/em>, Tastata 2 (Latina, 2008), 45\u201352.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>Ibid., 49.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Ibid., 308\u201324, at 308; in Salina\u2019s treatise on p.&#160;164, &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000046156&amp;page=1\"><span class=\"Hyperlink\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=&#173;0000046156&amp;page=1<\/span><\/a>&gt; (accessed on 20&#160;Dec. 2024).<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Nicolas Mee\u00f9s, \u2018Enharmonic keyboard\u2019, in: <em>New Grove2<\/em>, xiii (London, 2001), 248\u201350, at 248. Similar explanations can also be found in Volker Rippe, \u2018Nicola Vicentino \u2013 sein Tonsystem und seine Instrumente: Versuch einer Erkl\u00e4rung\u2019, in: <em>Mf<\/em> 34 (1981), 393\u2013413, at 413, or Franz Josef Ratte, <em>Die Temperatur der Clavierinstrumente: Quellenstudien zu den theoretischen Grundlagen und praktischen Anwendungen von der Antike bis ins 17. Jahrhundert<\/em>, Ver\u00f6ffentlichungen der Orgelwissenschaftlichen Forschungsstelle im Musikwissenschaftlichen Seminar der Westf\u00e4lischen Wilhelms-Universit\u00e4t M\u00fcnster 16 (Kassel etc., 1991), 376 (who on pp.&#160;387\u20138, however, also names the \u2018manifold possibilities of differentiation\u2019 arising in the <em>archicembalo<\/em> with \u2018affective qualities\u2019 for \u2018imitar le parole\u2019).<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Mee\u00f9s, \u2018Enharmonic keyboard\u2019 (see n.&#160;13), 249.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>Cf. Martin Kirnbauer, <em>Vielt\u00f6nige Musik: Spielarten chromatischer und enharmonischer Musik in Rom in der ersten H\u00e4lfte des 17.&#160;Jahrhunderts<\/em>, Schola Cantorum Basiliensis Scripta 3 (Basel, 2013); idem, \u2018\u201cVielt\u00f6nigkeit\u201d instead of Microtonality. The Theory and Practice of Sixteenth- and Seventeenth-Century \u201cMicrotonal\u201d Music\u2018, in: <em>Experimental Affinities in Music<\/em>, ed. Paulo de Assis, Orpheus Institute Series (Leuven, 2015), 64\u201390, at 64\u20137, &lt;<a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/32935\"><span class=\"Hyperlink\">https:\/\/library.oapen.org\/handle\/20.500.12657\/32935<\/span><\/a>&gt; (accessed on 14&#160;August 2024)&gt;.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Rudolf A. Rasch, \u2018Why were enharmonic keyboards built? From Nicola Vicentino (1555) to Michael Bulyowsky (1699)\u2019, in: <em>Chromatische und enharmonische Musik und Musikinstrumente des 16. &amp; 17.&#160;Jahrhunderts \u2013 Beitr\u00e4ge zu einem Kolloquium der Schola Cantorum Basiliensis, Hochschule f\u00fcr Alte Musik Basel, und dem Musikwissenschaftlichen Institut der Universit\u00e4t Basel am 9. April 2002<\/em>, ed. Thomas Drescher and Martin Kirnbauer, in: <em>Schweizer Jahrbuch f\u00fcr Musikwissenschaft<\/em> 22 (2002), 11\u2013250, at 35\u201393 (in particular 37\u201343), &lt;<span class=\"Hyperlink\">https:\/\/www.e-periodica.ch\/digbib\/view?pid=sjm-004%3A2002%3A22 &#8211; 40<\/span>&gt;.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Rasch, \u2018Why were enharmonic keyboards built?\u2019, 43.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>See for instance Claude V. Palisca, <em>Humanism in Italian Renaissance Musical Thought<\/em> (New Haven\/London, 1985); Karol Berger, <em>Theories of Chromatic and Enharmonic Music in Late 16th Century Italy<\/em>, Studies in Musicology 10 (Ann Arbor, 1980) [PhD diss., Yale University, 1975]; David R.M. Irving, \u2018Ancient Greeks, world music, and early modern constructions of Western European identity\u2019, in: <em>Studies on a Global History of Music: a Balzan Musicology Project<\/em>, ed. Reinhard Strohm, SOAS Musicology Series (London\/New York, 2018), 21\u201341.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>Bonnie J. Blackburn, Edward E. Lowinsky and Clement A. Miller (eds.), <em>A Correspondence of Renaissance Musicians<\/em> (Oxford, 1991), 548\u201362, (No. 46) at 548.<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Vicentino, <em>L\u2019antica musica<\/em>, libro della theorica.16.5 (fol.&#160;6<span class=\"Hochgestellt\">v<\/span>).<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Ibid.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>\u2018&amp; anchora l\u2019inuentione, ch\u2019io ho fatta nel scriuere sopra le note con il punto\u2019, I.7.6 (fol.&#160;14<span class=\"Hochgestellt\">v<\/span>). It should be noted that for him, of course, the whole tone is divided into two unequal semitones, one \u2018maggiore\u2019 and the other \u2018minore\u2019, which at the same time ensures that his ideas were consistent with the music of his time, which was tuned in meantone \u2013 to which his claim \u2018ridotta alla moderna prattica\u2019 probably also refers.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>This category is only briefly explained in I.18.2-3 (fol.&#160;21<span class=\"Hochgestellt\">v<\/span>\u201322<span class=\"Hochgestellt\">r<\/span>), but frequently appears in the catalogue of all intervals available on the <em>archicembalo<\/em> in the Fifth Book.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>Vicentino, <em>L\u2019antica musica<\/em>, V.38 (fol. 118<span class=\"Hochgestellt\">v<\/span>).<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>I.5.10 (fol.&#160;11<span class=\"Hochgestellt\">v<\/span>).<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>I.5-1.5 (fol.&#160;12<span class=\"Hochgestellt\">r<\/span>).<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>I.30.1 (fol.&#160;22<span class=\"Hochgestellt\">v<\/span>).<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>III.49.5 (fol.&#160;65<span class=\"Hochgestellt\">v<\/span>).<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>IV.40.5 (fol.&#160;93<span class=\"Hochgestellt\">v<\/span>).<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Cf. Johannes Keller and Martin Kirnbauer, \u2018Keyboards Adapted to Music vs. Music Adapted to Keyboards: An Essay on \u201cVielt\u00f6nigkeit\u201d and Keyboard Instruments\u2019, in: <em>Keyboard Perspec&#173;tives<\/em>. <em>Yearbook<\/em> <em>of the Westfield Center for Historical Keyboard Studies<\/em> 12 (2019\/20), 61\u201382.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>For the broader context see Alexander Rehding, \u2018Instruments of Music Theory\u2019, in: <em>Music Theory Online<\/em> 22\/4 (2016), &lt;<a href=\"https:\/\/mtosmt.org\/issues\/mto.16.22.4\/mto.16.22.4.rehding.html\"><span class=\"Hyperlink\">https:\/\/mtosmt.org\/issues\/mto.16.22.4\/mto.16.22.4.rehding.html<\/span><\/a>&gt; (accessed on 24&#160;August 2024).<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>Franchino Gaffurio, <em>Practica musice<\/em> (Milan: Guillermus Le Signerre for Johannes Petrus de Lomatio, 1496), fol.&#160;[a6<span class=\"Hochgestellt\">v<\/span>], <a href=\"file:\/\/\/D:\\Users\\KIR\\Documents\\Vielton\\Vicentino\\Vicentino21\\Bologna_Okt%202023\\%3chttps:\\gallica.bnf.fr\\ark:\\12148\\bpt6k15160772%3e\"><span class=\"Hyperlink\">&lt;https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k15160772&gt;<\/span><\/a> (accessed on 9&#160;Sept. 2024); see also Irwin Young, <em>The \u2018Practica musicae\u2019 of Franchinus Gafurius, Translated and Edited with Musical Transcriptions<\/em> (Madison\/Milwaukee\/London, 1969), 27, n.&#160;30.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>John Hothby, \u2018Epistola\u2019 (in: I-Fn Magl.XIX.36), fol.&#160;74\u20138, at 75<span class=\"Hochgestellt\">v<\/span>; ed. Albert Seay (ed.), <em>Johannes Hothby: Tres tractatuli contra Bartholomeum Ramum<\/em>, CSM 10 (Rome, 1964), 79\u201392, at 83\u20135.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>Hothby, \u2018Epistola\u2019, fol.&#160;76<span class=\"Hochgestellt\">v<\/span>; Seay (ed.), <em>Johannes Hothby<\/em>, 89.<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>Bonnie J. Blackburn, \u2018Musical Theory and Musical Thinking after 1450\u2019, in: <em>Music as Concept and Practice in the Late Middle Ages<\/em>, ed. Reinhard Strohm and Bonnie J. Blackburn, New Oxford History of Music III.1 (Oxford, 2001), 301\u201345, at 324\u20135; Sigrun Heinzelmann, \u2018John Hothby as Innovator: The Solmization System in La Calliopea Legale\u2019, in: <em>Studi Musicali<\/em>, N.S. 2 (2012), 353\u201396, at 366\u201372.<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>Christopher Stembridge \u2018The <em>Cimbalo cromatico<\/em> and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave\u2019, in: <em>PPR <\/em>6 (1993), 33\u201359, &lt;<a href=\"https:\/\/scholarship.claremont.edu\/ppr\/vol6\/iss1\/\"><span class=\"Hyperlink\">https:\/\/scholarship.claremont.edu\/ppr\/vol6\/iss1\/<\/span><\/a>&gt; (accessed on 17&#160;August 2024); Denzil Wraight and Christopher Stembridge, \u2018Italian Split-Keyed Instruments with Fewer than Nineteen Divisions to the Octave\u2019, in: <em>PPR <\/em>7 (1994), 150\u201381, &lt;<a href=\"https:\/\/scholarship.claremont.edu\/ppr\/vol7\/iss2\/\"><span class=\"Hyperlink\">https:\/\/scholarship.claremont.edu\/ppr\/vol7\/iss2\/<\/span><\/a>&gt; (accessed on 17&#160;August 2024); Denzil Wraight, \u2018The <em>cimbalo cromatico<\/em> and other Italian string keyboard instruments with divided accidentals\u2019, in: <em>Chromatische und enharmonische Musik und Musikinstrumente des 16. <\/em><em>&amp; 17.&#160;Jahrhunderts \u2013 Beitr\u00e4ge zu einem Kolloquium der Schola Cantorum Basiliensis, Hochschule f\u00fcr Alte Musik Basel, und dem Musikwissenschaftlichen Institut der Universit\u00e4t Basel am 9. April 2002<\/em>, ed. Thomas Drescher and Martin Kirnbauer, in: <em>Schweizer Jahrbuch f\u00fcr Musikwissenschaft<\/em> 22 (2002), 11\u2013250, at 105\u201334, &lt;<span class=\"Hyperlink\">https:\/\/www.e-periodica.ch\/digbib\/view?pid=sjm-004%3A2002%3A22 &#8211; 110<\/span>&gt;, and the addition \u2018Checklist of Italian Harpsichords and Virginals with Split Sharps\u2019 (2016) &lt;<a href=\"http:\/\/www.denzilwraight.com\/download.htm\"><span class=\"Hyperlink\">http:\/\/www.denzilwraight.com\/download.htm<\/span><\/a>&gt; (accessed on 28&#160;August 2024)&gt;; Martin Kirnbauer, \u2018Viele Tasten \u2013 viele T\u00f6ne. Das Cimbalo cromatico und musikalische Praxis\u2019, in: <em>Les espaces sonores. Stimmungen, Klanganalysen, spektrale Musiken<\/em>, ed. Michael Kunkel (B\u00fcdingen, 2016), 43\u201357.<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>Gioseffo Zarlino, <em>Le Istitutioni harmoniche<\/em> (Venice: author, 1558), 139\u201342. Incidentally, the term <em>cimbalo cromatico<\/em> is not used in the text, but in Zarlino\u2019s estate inventory the instrument is explicitly described as \u2018Vn clauiciembalo cromatico\u2019; Isabella Palumbo Fossati, \u2018La casa veneziana di Gioseffo Zarlino nel testamento e nell\u2019inventario dei beni del grande teorico musicale\u2019, in: <em>NRMI <\/em>20 (1986), 633\u201349, at 640 and 648 (facs.). On this instrument see now also Denzil Wraight, \u2018The Tuning of Trasuntino\u2019s \u201cClavemusicum Omnitonum\u201d and Zarlino\u2019s Enharmonic System\u2019 (2024) &lt;<a href=\"https:\/\/www.denzilwraight.com\/publications.htm\"><span class=\"Hyperlink\">https:\/\/www.denzilwraight.com\/publications.htm<\/span><\/a>&gt; (accessed on 20&#160;Dec. 2024).<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>See Michael Fend, <em>Gioseffo Zarlino, Theorie des Tonsystems \u2013 Das erste und zweite Buch der Istitutioni harmoniche (1573). Aus dem Italienischen \u00fcbersetzt, mit Anmerkungen, Kom&#173;mentaren und einem Nachwort versehen<\/em>, Europ\u00e4ische Hochschulschriften, Reihe XXXVI, Musikwissenschaft 43 (Frankfurt a.M., 1989), 397\u20139 and 429\u201333.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>I-Bc C.32; see the edition in Martin Kirnbauer, \u2018Das Werbeblatt f\u00fcr das <em>Arciorgano<\/em>: Edition, \u00dcbersetzung und Kommentar\u2019, in: idem (ed.), <em>Zwischen Vielt\u00f6nigkeit und Mikrotonalit\u00e4t<\/em> (see n.&#160;1), 115\u201327, at 116\u201319; for an English translation see Henry William Kaufmann, \u2018Vicentino\u2019s Arciorgano: An Annotated Translation\u2019, in: <em>JMT <\/em>5\/1 (1961), 32\u201353.<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>Cf. Martin Kirnbauer, \u2018\u201csonare &amp; cantare le pronuntie delle passioni delle parole\u201d \u2013 An&#173;n\u00e4herungen an Nicola Vicentinos <em>arciorgano<\/em>\u2019, in: <em>Stimme \u2013 Instrument \u2013 Vokalit\u00e4t. Blicke auf dynamische Beziehungen in der Alten Musik<\/em>, ed. Martina Papiro, Basler Beitr\u00e4ge zur Historischen Musikpraxis 41 (Basel 2021), 71\u201391, &lt;<a href=\"https:\/\/schwabe.ch\/martina-papiro-gross-geigen-um-1500-orazio-michi-und-die-harfe-um-1600-978-3-7965-4109-4?c=833\"><span class=\"Hyperlink\">https:\/\/schwabe.ch\/martina-papiro-gross-geigen-um-1500-orazio-michi-und-die-harfe-um-1600-978-3-7965-4109-4?c=833<\/span><\/a>&gt; (accessed on 20&#160;Dec. 2024).<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"1\">Bibliography<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Richard J. Agee, \u2018The Privilege and Venetian Music Printing in the Sixteenth Century\u2019, PhD diss., Princeton University, 1982<\/p>\n<p class=\"bibliography\">Patrizio Barbieri, <em>Enharmonic Instruments and Music 1470\u20131900. Revised and Translated Studies<\/em>, Tastata 2 (Latina, 2008)<\/p>\n<p class=\"bibliography\">Karol Berger, <em>Theories of Chromatic and Enharmonic Music in Late 16th Century Italy<\/em>, Studies in Musicology 10 (Ann Arbor, 1980) [PhD diss., Yale University, 1975]\n<p class=\"bibliography\">Bonnie J. Blackburn, \u2018Musical Theory and Musical Thinking after 1450\u2019, in: <em>Music as Concept and Practice in the Late Middle Ages<\/em>, ed. Reinhard Strohm and Bonnie J. Blackburn, New Oxford History of Music III.I (Oxford, 2001), 301\u201345<\/p>\n<p class=\"bibliography\">Bonnie J. Blackburn, Edward E. Lowinsky and Clement A. Miller (eds.), <em>A Correspondence of Renaissance Musicians<\/em> (Oxford, 1991)<\/p>\n<p class=\"bibliography\">Davide Daolmi, \u2018Vicentino, Nicola\u2019, in: <em>Dizionario Biografico degli Italian<\/em>i 99 (2020), &lt;<a href=\"https:\/\/www.treccani.it\/enciclopedia\/nicola-vicentino_(Dizionario-Biografico)\/\"><span class=\"Hyperlink\">https:\/\/www.treccani.it\/enciclopedia\/nicola-vicentino_(Dizionario-Biografico)\/<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Michael Fend, <em>Gioseffo Zarlino, Theorie des Tonsystems \u2013 Das erste und zweite Buch der Istitutioni harmoniche (1573). Aus dem Italienischen \u00fcbersetzt, mit Anmerkungen, Kommentaren und einem Nachwort versehen<\/em>, Europ\u00e4ische Hochschulschriften, Reihe XXXVI, Musikwissenschaft 43 (Frankfurt a.M. etc., 1989)<\/p>\n<p class=\"bibliography\">Franchino Gaffurio, <em>Practica musice<\/em> (Milan: Guillermus Le Signerre for Johannes Petrus de Lomatio 1496), &lt;<a href=\"https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k15160772\"><span class=\"Hyperlink\">https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k15160772<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">David Gallagher, \u2018Vicentino\u2019s missing music\u2019, in: <em>Zwischen Vielt\u00f6nigkeit und Mikro&#173;tonalit\u00e4t. Materialen und Beitr\u00e4ge aus dem Forschungsprojekt \u00abStudio31\u00bb<\/em>, ed. Martin Kirnbauer, Schola Cantorum Basiliensis Scripta 10 (Basel, 2024), 9\u201384, &lt;<a href=\"https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2\"><span class=\"Hyperlink\">https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Sigrun Heinzelmann, \u2018John Hothby as Innovator: The Solmization System in La Calliopea Legale\u2019, in: <em>Studi Musicali<\/em>, N.S. 2 (2012), 353\u201396<\/p>\n<p class=\"bibliography\">David R.M. Irving, \u2018Ancient Greeks, world music, and early modern constructions of Western European identity\u2019, in: <em>Studies on a Global History of Music: a Balzan Musicology Project<\/em>, ed. Reinhard Strohm, SOAS Musicology Series (London\/New York, 2018), 21\u201341<\/p>\n<p class=\"bibliography\">Henry William Kaufmann, \u2018Vicentino\u2019s Arciorgano: An Annotated Translation\u2019, in: <em>JMT <\/em>5\/1 (1961), 32\u201353<\/p>\n<p class=\"bibliography\">Johannes Keller, \u2018Das Basler <em>Arciorgano<\/em> und <em>Clavemusicum omnitonum<\/em>\u2019, in: <em>Zwischen Vielt\u00f6nigkeit und Mikrotonalit\u00e4t. Materialen und Beitr\u00e4ge aus dem Forschungsprojekt \u00abStudio31\u00bb<\/em>, ed. Martin Kirnbauer, Schola Cantorum Basiliensis Scripta 10 (Basel, 2024), 137\u201370, &lt;<a href=\"https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2\"><span class=\"Hyperlink\">https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Johannes Keller and Martin Kirnbauer, \u2018Keyboards Adapted to Music vs. Music Adapted to Keyboards: An Essay on \u201cVielt\u00f6nigkeit\u201d and Keyboard Instruments\u2019, in: <em>Keyboard Perspectives<\/em>. <em>Yearbook<\/em> <em>of the Westfield Center for Historical Keyboard Studies<\/em> 12 (2019\/20), 61\u201382<\/p>\n<p class=\"bibliography\">Martin Kirnbauer, \u2018Nicola Vicentino (1510\u20131577) \u2013 Ein biographischer Abriss\u2019, in: <em>Zwischen Vielt\u00f6nigkeit und Mikrotonalit\u00e4t. Materialen und Beitr\u00e4ge aus dem Forschungsprojekt \u00abStudio31\u00bb<\/em>, ed. Martin Kirnbauer, Schola Cantorum Basiliensis Scripta 10 (Basel, 2024), 3\u20138, &lt;<a href=\"https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2\"><span class=\"Hyperlink\">https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Martin Kirnbauer, \u2018Viele Tasten \u2013 viele T\u00f6ne. Das Cimbalo cromatico und musikalische Praxis\u2019, in: <em>Les espaces sonores. Stimmungen, Klanganalysen, spektrale Musiken<\/em>, ed. Michael Kunkel (B\u00fcdingen, 2016), 43\u201357<\/p>\n<p class=\"bibliography\">Martin Kirnbauer, <em>Vielt\u00f6nige Musik: Spielarten chromatischer und enharmonischer Musik in Rom in der ersten H\u00e4lfte des 17.&#160;Jahrhunderts<\/em>, Schola Cantorum Basiliensis Scripta 3 (Basel, 2013)<\/p>\n<p class=\"bibliography\">Martin Kirnbauer, \u2018\u201cVielt\u00f6nigkeit\u201d instead of Microtonality. The Theory and Practice of Sixteenth- and Seventeenth-Century \u201cMicrotonal\u201d Music\u2018, in: <em>Experimental Affinities in Music<\/em>, ed. Paulo de Assis, Orpheus Institute Series (Leuven, 2015), 64\u201390, &lt;<a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/32935\"><span class=\"Hyperlink\">https:\/\/library.oapen.org\/handle\/20.500.12657\/32935<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Martin Kirnbauer, \u2018\u201csonare &amp; cantare le pronuntie delle passioni delle parole\u201d&#160;\u2013 Ann\u00e4herungen an Nicola Vicentinos <em>arciorgano<\/em>\u2019, in: <em>Stimme \u2013 Instrument&#160;\u2013 Vokalit\u00e4t. Blicke auf dynamische Beziehungen in der Alten Musik<\/em>, ed. Martina Papiro, Basler Beitr\u00e4ge zur Historischen Musikpraxis 41 (Basel 2021), 71\u201391, &lt;https:\/\/schwabe.ch\/martina-papiro-gross-geigen-um-1500-orazio-michi-und-die-harfe-um-1600-978-3-7965-4109-4?c=833&gt;<\/p>\n<p class=\"bibliography\">Martin Kirnbauer, \u2018Das Werbeblatt f\u00fcr das <em>Arciorgano<\/em>: Edition, \u00dcbersetzung und Kommentar\u2019, in: <em>Zwischen Vielt\u00f6nigkeit und Mikrotonalit\u00e4t. Materialen und Beitr\u00e4ge aus dem Forschungsprojekt \u00abStudio31\u00bb<\/em>, ed. Martin Kirnbauer, Schola Cantorum Basiliensis Scripta 10 (Basel, 2024), 115\u201327, &lt;<a href=\"https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2\"><span class=\"Hyperlink\">https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Martin Kirnbauer (ed.),<em> Zwischen Vielt\u00f6nigkeit und Mikrotonalit\u00e4t. Materialen und Beitr\u00e4ge aus dem Forschungsprojekt \u00abStudio31\u00bb<\/em>, Schola Cantorum Basiliensis Scripta 10 (Basel, 2024), &lt;<a href=\"https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2\"><span class=\"Hyperlink\">https:\/\/schwabe.ch\/Martin-Kirnbauer-Zwischen-Vieltoenigkeit-und-Mikrotonalitaet-978-3-7965-5193-2<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Nicolas Mee\u00f9s, \u2018Enharmonic keyboard\u2019, in: <em>New Grove2<\/em>, xiii (London, 2001), 248\u201350<\/p>\n<p class=\"bibliography\">Claude V. Palisca, \u2018Foreword by the Series Editor\u2019, in: <em>Nicola Vicentino, Ancient Music Adapted to Modern Practice<\/em>, trans. by Maria Rika Maniates, Music Theory Translation Series (New Haven\/London, 1996), vii\u2013viii<\/p>\n<p class=\"bibliography\">Claude V. Palisca, <em>Humanism in Italian Renaissance Musical Thought<\/em> (New Haven\/London, 1985)<\/p>\n<p class=\"bibliography\">Isabella Palumbo Fossati, \u2018La casa veneziana di Gioseffo Zarlino nel testamento e nell\u2019inventario dei beni del grande teorico musicale\u2019, in: <em>NRMI <\/em>20 (1986), 633\u201349<\/p>\n<p class=\"bibliography\">Rudolf A. Rasch, \u2018Why were enharmonic keyboards built? From Nicola Vicentino (1555) to Michael Bulyowsky (1699)\u2019, in: <em>Chromatische und enharmonische Musik und Musikinstrumente des 16. &amp; 17.&#160;Jahrhunderts \u2013 Beitr\u00e4ge zu einem Kolloquium der Schola Cantorum Basiliensis, Hochschule f\u00fcr Alte Musik Basel, und dem Musikwissenschaftlichen Institut der Universit\u00e4t Basel am 9. April 2002<\/em>, ed. Thomas Drescher and Martin Kirnbauer, in: <em>Schweizer Jahrbuch f\u00fcr Musikwissenschaft<\/em> 22 (2002), 11\u2013250, &lt;<span class=\"Hyperlink\">https:\/\/www.e-periodica.ch\/digbib\/view?pid=sjm-004%3A2002%3A22 &#8211; 40<\/span>&gt;<\/p>\n<p class=\"bibliography\">Franz Josef Ratte, <em>Die Temperatur der Clavierinstrumente: Quellenstudien zu den theoretischen Grundlagen und praktischen Anwendungen von der Antike bis ins 17. Jahrhundert<\/em>, Ver\u00f6ffentlichungen der Orgelwissenschaftlichen Forschungsstelle im Musikwissenschaftlichen Seminar der Westf\u00e4lischen Wilhelms-Universit\u00e4t M\u00fcnster 16 (Kassel etc., 1991)<\/p>\n<p class=\"bibliography\">Alexander Rehding, \u2018Instruments of Music Theory\u2019, in: <em>Music Theory Online<\/em> 22\/4 (2016), &lt;<a href=\"https:\/\/mtosmt.org\/issues\/mto.16.22.4\/mto.16.22.4.rehding.html\"><span class=\"Hyperlink\">https:\/\/mtosmt.org\/issues\/mto.16.22.4\/mto.16.22.4.rehding.html<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Volker Rippe, \u2018Nicola Vicentino \u2013 sein Tonsystem und seine Instrumente: Versuch einer Erkl\u00e4rung\u2019, in: <em>Mf<\/em> 34 (1981), 393\u2013413<\/p>\n<p class=\"bibliography\">Francesco de Salinas, <em>De musica libri septem<\/em> (Salamanca: Mathias Gastius, 1577), &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000046156&amp;page=1\"><span class=\"Hyperlink\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000046156&amp;page=1<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Albert Seay (ed.), <em>Johannes Hothby: Tres tractatuli contra Bartholomeum Ramum<\/em>, CSM 10 (Rome, 1964)<\/p>\n<p class=\"bibliography\">Christopher Stembridge \u2018The <em>Cimbalo cromatico<\/em> and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave\u2019, in: <em>PPR <\/em>6 (1993), 33\u201359, &lt;<a href=\"https:\/\/scholarship.claremont.edu\/ppr\/vol6\/iss1\/\"><span class=\"Hyperlink\">https:\/\/scholarship.claremont.edu\/ppr\/vol6\/iss1\/<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Nicola Vicentino, <em>L\u2019antica musica ridotta alla moderna prattica<\/em> (Rome: Antonio Barr\u00e8 1555), &lt;<a href=\"https:\/\/vicentino21.ch\/\"><span class=\"Hyperlink\">https:\/\/vicentino21.ch<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Denzil Wraight, \u2018Checklist of Italian Harpsichords and Virginals with Split Sharps\u2019 (2016) &lt;<a href=\"http:\/\/www.denzilwraight.com\/download.htm\"><span class=\"Hyperlink\">http:\/\/www.denzilwraight.com\/download.htm<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Denzil Wraight, \u2018The <em>cimbalo cromatico<\/em> and other Italian string keyboard instruments with divided accidentals\u2019, in: <em>Chromatische und enharmonische Musik und Musikinstrumente des 16. &amp; 17.&#160;Jahrhunderts \u2013 Beitr\u00e4ge zu einem Kolloquium der Schola Cantorum Basiliensis, Hochschule f\u00fcr Alte Musik Basel, und dem Musikwissenschaftlichen Institut der Universit\u00e4t Basel am 9. April 2002<\/em>, ed. Thomas Drescher and Martin Kirnbauer, in: <em>Schweizer Jahrbuch f\u00fcr Musikwissenschaft<\/em> 22 (2002), 11\u2013250, &lt;<span class=\"Hyperlink\">https:\/\/www.e-periodica.ch\/digbib\/view?pid=sjm-004%3A2002%3A22 &#8211; 110<\/span>&gt;<\/p>\n<p class=\"bibliography\">Denzil Wraight, \u2018The Tuning of Trasuntino\u2019s \u201cClavemusicum Omnitonum\u201d and Zarlino\u2019s Enharmonic System\u2019 (2024), &lt;<a href=\"https:\/\/www.denzilwraight.com\/publications.htm\"><span class=\"Hyperlink\">https:\/\/www.denzilwraight.com\/publications.htm<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Denzil Wraight and Christopher Stembridge, \u2018Italian Split-Keyed Instruments with Fewer than Nineteen Divisions to the Octave\u2019, in: <em>PPR <\/em>7 (1994), 150\u201381, &lt;<a href=\"https:\/\/scholarship.claremont.edu\/ppr\/vol7\/iss2\/\"><span class=\"Hyperlink\">https:\/\/scholarship.claremont.edu\/ppr\/vol7\/iss2\/<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Irwin Young, <em>The \u2018Practica musicae\u2019 of Franchinus Gafurius, Translated and Edited with Musical Transcriptions<\/em> (Madison\/Milwaukee\/London, 1969)<\/p>\n<p class=\"bibliography\">Gioseffo Zarlino, <em>Le Istitutioni harmoniche<\/em> (Venice: author, 1558)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>An Attempt at a Response According to Nicola Vicentino Martin Kirnbauer &nbsp; This paper was shaped by two major research projects that were carried out at the Schola Cantorum Basiliensis in the last ten years. The first was \u2018Studio31\u2019 with a reconstruction of two keyboard instruments proposed by Nicola Vicentino in his treatise L\u2019antica musica &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[271],"tags":[],"class_list":["post-8027","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century-2-italy"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Why Should One Build an Archicembalo? &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-005\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why Should One Build an Archicembalo? &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"An Attempt at a Response According to Nicola Vicentino Martin Kirnbauer &nbsp; This paper was shaped by two major research projects that were carried out at the Schola Cantorum Basiliensis in the last ten years. 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