{"id":8350,"date":"2026-07-06T15:08:34","date_gmt":"2026-07-06T13:08:34","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=8350"},"modified":"2026-07-06T16:00:04","modified_gmt":"2026-07-06T14:00:04","slug":"mdwp017-012","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-012\/","title":{"rendered":"Bassi ostinati and Ornamental Formulas in the Intabolatura nova di varie sorte de balli, Venice 1551 (I-Bc R.178), and in Similar Contemporary Sources for the Lute"},"content":{"rendered":"<h3 class=\"author\"><em>Vania Dal Maso<\/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  }<\/p>\n<p>td ol {\n  margin: 0 !important;\n  padding-left: 0; \n}<\/p>\n<p>td li {\n  margin: 0;\n}<\/p>\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\/mdwp017-011\/\" style=\"color:#000000 !important;\">&#129028;<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a 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id=\"zp-ID-8350-4511395-PDCKD44T\" data-zp-author-date='Dal-Maso-2026' data-zp-date-author='2026-Dal-Maso' 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\">Dal Maso, Vania. 2026. \u201cBassi Ostinati and Ornamental Formulas in the Intabolatura Nova Di Varie Sorte de Balli, Venice 1551 (I-Bc R.178), and in Similar Contemporary Sources for the Lute.\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=PDCKD44T' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">Introduction<\/a><br \/>\n<a href=\"#2\">Description of the Source<\/a><br \/>\n<a href=\"#3\">Contents and Titles<\/a><br \/>\n<a href=\"#4\">Musical Characteristics  of the <em>varie sorte de balli<\/em><\/a><br \/>\n<a href=\"#5\">Ostinato Basses and Embellishment of the Melodic Line<\/a><br \/>\n<a href=\"#6\">Bar Lines<\/a><br \/>\n<a href=\"#7\">Keyboard Instruments and\/or Lute<\/a><br \/>\n<a href=\"#8\">A Practical Example: \u2018La cara cossa\u2019 \/ \u2018Gamba gagliarda\u2019<\/a><br \/>\n<a href=\"#9\">Comparisons With Lute Tablatures: Analogies and Differences<\/a><br \/>\n<a href=\"#10\">Performance<\/a><br \/>\n<a href=\"#11\">Conclusions<\/a><br \/>\n<a href=\"#12\">Bibliography<\/a><\/p>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<h4 id=\"1\">Introduction<\/h4>\n<p>The history of Italian keyboard instrument literature is initially linked to tablatures of vocal pieces. This music was conceived and created with different sound destinations in mind than those typically associated with instrumental music. The first autonomous pieces in Italian keyboard music sources that were not derived from pre-existing models are predominantly dances. The earliest known collection of dance music is a manuscript, dated between 1520 and 1550 and currently housed in the Biblioteca Nazionale Marciana in Venice.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span> In addition to this volume, a number of printed collections have also survived. These are: the <em>Intabolatura nova di varie sorte de balli da sonare<\/em> (Venice: Antonio Gardane, 1551),<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> preserved in the collections of the Museo internazionale e biblioteca della musica di Bologna; <em>Il secondo libro d\u2019intavolatura di balli d\u2019arpicordo<\/em> by Marco Facoli (Venice: Angelo Gardano, 1588), currently in the Biblioteca of the Conservatorio Santa Cecilia in Rome; <em>Il primo libro d\u2019intavolatvra di balli d\u2019arpicordo<\/em> by Giovanni Maria Radino (Venice: Giacomo Vincenti, 1592), previously in the possession of Fran\u00e7ois-Joseph F\u00e9tis and now in the Biblioth\u00e8que Royale de Belgique.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span><\/p>\n<p>With the exception of Facoli and Radino, which are separated by only four years, the four anthologies are spaced apart chronologically by a few decades and encompass the majority of the 16th century. This is specifically instrumental and idiomatic music which, in spite of its individual features, has been accorded only slight academic consideration. The <em>Intavoltura nova<\/em> has even been described as music for beginners, as can be deduced from the words of Daniel Heartz, in the introduction to the modern edition of the Antonio Gardane collection. Heartz refers to the print as \u2018a collection put together not from what the virtuoso did play, but under consideration of what the <em>amateur<\/em> could play\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> What value, therefore, can these dance anthologies offer?<\/p>\n<p>First of all, these pieces possess an intrinsic value as historical documents, given that this genre of music was rarely written down due to its predominantly extemporaneous nature. Secondly, together with similar collections written for the lute, they assist in contextualising and comprehending not only the strictly musical aspects of emerging forms (such as the <em>Cara cossa<\/em> or <em>Gamba gagliarda<\/em>, which will be addressed subsequently), but also other aspects, both of a theoretical and notational character and of a practical nature connected to performance. The examination of the various versions of pieces with similar titles or identical bass lines can reveal interesting aspects in the evolution of a musical form. The observation of ornamental formulas also brings to light the presence of certain recurring figures that form a sort of vocabulary, as evidenced in the subsequent manuals illustrating the so-called diminutions. Furthermore, the comparison of similar pieces written for different instruments can help us to identify the technical and idiosyncratic attributes inherent to each instrument.<\/p>\n<p>In the first part of this presentation I will describe Antonio Gardane\u2019s 1551 edition<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> and attempt to distinguish its principal features. In addition, I will identify some of the ornamental figures that were typical of the period and determine the possible purposes and uses of the edition. In the second part I aim to examine this source in the context of contemporary production. To this end, I will analyse certain pieces sharing the same bass line in comparison with similar lute tablatures.<\/p>\n<h4 id=\"2\">Description of the Source<\/h4>\n<p>The only known extant copy of the <em>Intabolatura nova di varie sorte de balli da sonare<\/em> is preserved in the Museo internazionale e biblioteca della musica di Bologna, catalogued under the call number R.178. In the <em>Catalogo della biblioteca del liceo musicale di Bologna<\/em>, edited by Gaetano Gaspari, the <em>Intabolatura nova <\/em>is described as a \u2018very rare short work of great importance for the history of music, presenting a sample of the dance music in fashion in the mid-sixteenth century\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><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-scaled.jpg\" alt=\"Title page of a 16th-century printed music book titled \u201cIntabolatura Nova di Varie Sorte de Balli da Sonare per Arpicordi, Clavicembali, Spinetti, et Manachordi.\u201d The page features decorative typography and an illustration of two lions holding a medallion. It was published in Venice by Antonio Gardane in 1551.\" width=\"2560\" height=\"1827\" class=\"alignnone size-full wp-image-8353\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-300x214.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-1024x731.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-150x107.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-768x548.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-1536x1096.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-2048x1462.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-104x74.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.1-850x607.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 1:<\/b> Title-page of the <em>Intabolatura nova<\/em> (Venice, 1551) (\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;<a href=\"http:\/\/www.museibologna.it\/musica\">http:\/\/www.museibologna.it\/musica<\/a>&gt;).<\/span><\/p>\n<p>The volume, in oblong quarto format, consists of twenty-six sheets numbered on the verso-side only. As can be observed in Fig.&#160;2, its size is rather small (appr. 15 x 22cm). The absence of both a dedication and a preface, precludes the possibility of deriving either information on the contents or advice on performance. The terms \u2018arpichordi, Clauiciembali, Spinette, &amp; Manachordi\u2019 mentioned on the title-page (Fig.&#160;1), refer to the typical stringed keyboard instruments that were widespread during the period in question. The phrase \u2018Libro primo\u2019 suggests that the publisher anticipated the publication of additional books. Of these, however, there is no trace. The book is presented in a notation on two staves in the form customarily used in Italy for keyboard music, i.e. the so-called \u2018intabolatura\u2019 (Fig.&#160;2).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2.jpg\" alt=\"An open 16th-century music book showing two pages of keyboard notation. The staves are filled with dense writing and clear black notes, labelled \u201cPass\u2019e mezzo nuovo\u201d on the left page. The book is handled with white gloves and supported by foam mounts, indicating archival preservation.\" width=\"1654\" height=\"945\" class=\"size-full wp-image-8354\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2.jpg 1654w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2-300x171.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2-1024x585.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2-150x86.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2-768x439.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2-1536x878.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2-850x486.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.2-384x220.jpg 384w\" sizes=\"auto, (max-width: 1654px) 100vw, 1654px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 2:<\/b> \u2018Pa\u00df\u2019e mezzo nuovo\u2019 from the <em>Intabolatura nova<\/em> (Venice, 1551), fols. 1<span class=\"Hochgestellt\">v<\/span>-2<span class=\"Hochgestellt\">r<\/span> (\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;<a href=\"http:\/\/www.museibologna.it\/musica\">http:\/\/www.museibologna.it\/musica<\/a>&gt;).<\/span><\/p>\n<h4 id=\"3\">Contents and Titles<\/h4>\n<p>In the table of contents at the end of the collection, the <em>Tavola delli balli<\/em>, the number of dances is indicated as being twenty-five; below this, the titles of the individual pieces are listed, accompanied by their corresponding number. The title of each piece provides a definition of the dance type (which appear in the following order: <em>pa\u00df\u2019e mezo nuovo<\/em>, <em>gagliarda<\/em>, <em>pavana<\/em>, <em>pa\u00df\u2019e mezo antico<\/em>, <em>saltarello<\/em>). In most cases an additional title is provided (for example: \u2018Cathacchio\u2019, \u2018L\u2019herba fresca\u2019, \u2018Gamba\u2019).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-scaled.jpg\" alt=\"A 16th-century printed page titled \u201cTavola Delli Balli Numero 25,\u201d listing 25 dance titles in Italian such as \u201cPass\u2019e mezzo nuovo primo\u201d and \u201cSaltarello del Re.\u201d The text is neatly organized in two columns, with a library stamp from the Biblioteca Estense in Modena at the bottom centre.\" width=\"2560\" height=\"1782\" class=\"alignnone size-full wp-image-8355\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-300x209.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-1024x713.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-150x104.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-768x535.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-1536x1069.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-2048x1426.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.3-850x592.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 3:<\/b> <em>Tavola delli balli <\/em>of the <em>Intabolatura nova<\/em> (Venice, 1551), fol.&#160;25<span class=\"Hochgestellt\">v<\/span> (\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;<a href=\"http:\/\/www.museibologna.it\/musica\">http:\/\/www.museibologna.it\/musica<\/a>&gt;).<\/span><\/p>\n<p>The pieces bearing the titles \u2018Le forze d\u2019hercole\u2019 and \u2018A la ho\u2019 lack any explicit indication of the specific dance type. However, an analysis of their characteristics suggests that these may be identified as a <em>pavana<\/em> (\u2018Le forze d\u2019hercole\u2019) and, presumably, a <em>saltarello<\/em> (\u2018A la ho\u2019). While for \u2018A la ho\u2019 there are no known concordances, \u2018Le forze d\u2019hercole\u2019 is also found in other sources. One of these, the <em>Intabolatura sopra el lauto <\/em>by Iulio Abondante (which will be discussed in greater detail later on), serves to confirm that the composition is, in fact, a <em>pavana <\/em>as evidencedfrom the title in the <em>Tavola delli balli<\/em>: \u2018Le forze di ercole Pavana\u2019.<\/p>\n<p>The contents of the <em>Intabolatura nova<\/em> can be summarised as follows: three <em>pa\u00df\u2019e mezo nuovo<\/em>, three <em>pa\u00df\u2019e mezo antico<\/em>, a <em>saltarello<\/em> (or two, if we count \u2018A la ho\u2019), two <em>pavane<\/em>, and fifteen <em>gagliarde<\/em>. Some pieces bearing similar titles are included in Ms. it. Cl. IV, n.&#160;1227 (coll.&#160;11699) of the Biblioteca Marciana of Venice, as one can note in Fig.&#160;4 reproducing the <em>Tavola di balli <\/em>of this manuscript. To be precise, the pieces in the Venetian manuscript that bear titles similar to those of the <em>Intabolatura nova<\/em> are: \u2018La torza: ou[er] tu te parti\u2019, \u2018La Lodexana\u2019, \u2018La canella\u2019, \u2018Saltarel de roy\u2019, \u2018La comarina\u2019.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.1.jpeg\" alt=\"Two images from a 16th-century Italian music manuscript titled \u201cTavola di balli,\u201d listing numerous dance titles in neat brown ink script. The first page bears two archival stamps in blue and black ink and shows signs of age and handling along the edges.&#xd;The second image shows the following page from the same manuscript continuing the list of dances, followed by a short musical example illustrating rhythmic notation. Handwritten notes and stamps are visible, and the text explains how note shapes and stems correspond to rhythmic values.\" width=\"1394\" height=\"890\" class=\"size-full wp-image-8357\" style=\"width:100%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.1.jpeg 1394w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.1-300x192.jpeg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.1-1024x654.jpeg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.1-150x96.jpeg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.1-768x490.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.1-850x543.jpeg 850w\" sizes=\"auto, (max-width: 1394px) 100vw, 1394px\" \/> <\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.2.jpeg\" alt=\"Two images from a 16th-century Italian music manuscript titled \u201cTavola di balli,\u201d listing numerous dance titles in neat brown ink script. The first page bears two archival stamps in blue and black ink and shows signs of age and handling along the edges.&#xd;The second image shows the following page from the same manuscript continuing the list of dances, followed by a short musical example illustrating rhythmic notation. Handwritten notes and stamps are visible, and the text explains how note shapes and stems correspond to rhythmic values.\" width=\"1394\" height=\"962\" class=\"size-full wp-image-8358\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.2.jpeg 1394w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.2-300x207.jpeg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.2-1024x707.jpeg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.2-150x104.jpeg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.2-768x530.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.2-320x220.jpeg 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4.2-850x587.jpeg 850w\" sizes=\"auto, (max-width: 1394px) 100vw, 1394px\" \/> <\/p>\n<p><span class=\"caption-text\"><b>Figure 4:<\/b> <em>Tavola di balli<\/em> in: I-Vnm, Ms. it. Cl. IV, n. 1227 (coll. 11699), fol.&#160;1<span class=\"Hochgestellt\">r<\/span> and fol.&#160;1<span class=\"Hochgestellt\">v<\/span> (su concessione del Ministero della Cultura \u2013 Biblioteca Nazionale Marciana. Divieto di riproduzione).<\/span><\/p>\n<p>The pieces bearing similar titles exhibit a resemblance, though they are not an exact replication. It is also noteworthy that the same bass line (in the first part only) is shared by two pieces that are given different titles: \u2018La cara cossa del berdolim\u2019in the Venetian manuscript and the \u2018Gamba gagliarda\u2019in the <em>Intabolatura nova<\/em>.This will be examined in greater detail below. Again, it can be observed that, rather than substantial replication, similarities can be identified between the various pieces. This is due to the fact that all these pieces result from an improvisatory practice, in which pieces are created ex tempore based on or using certain common materials (like the bass lines). Hence, all correspondences of titles or musical aspects, though useful, must be treated with caution. In his study <em>Tempo, gratia e misura. A Study of Fabrizio Caroso\u2019s Nobilt\u00e0 di Dame, 1600<\/em>, Martin Paul Maloney states:<\/p>\n<blockquote>\n<p class=\"tsquotation\">One may have misgivings sometimes that relationships may have been too ingeniously traced and that correspondences should rather be seen as similarities, but the aural transmission of the greater part of this by its nature largely fleeting kind of music and the element of improvisation in its performance would encourage conservatism in the materials and structures used, and must be taken into account when considering the many similarities encountered [\u2026].<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span><\/p>\n<\/blockquote>\n<h4 id=\"4\">Musical Characteristics of the <em>varie sorte de balli<\/em><\/h4>\n<p>The pieces in the <em>Intabolatura nova<\/em> are simple, with concise melodies, repetitive rhythms and clear structures. The idiomatic character is dependent on two factors: firstly, the chords of the left hand (which also serve as a rhythmic foundation); and secondly, the fast embellishments, divisions and passagework of the right hand. This gives the effect of a melody with accompaniment. From a formal perspective, the overall structure of the individual pieces is symmetrical, comprising semi-phrases of four bars and phrases of eight. The dances in Gardane\u2019s print have numerous repeat signs, yet no explicit indication is provided regarding the number of repetitions or of specific variations, if any, that should be employed.<\/p>\n<h4 id=\"5\">Ostinato Basses and Embellishment of the Melodic Line<\/h4>\n<p>The foundation of these dances are the bass lines, to which other notes are superimposed, typically at intervals of a fifth and octave or a third and fifth. Above this structure entrusted to the left hand we find a melodic line, rich in rapid embellishments, to be played by the right hand. In some cases, the chordal pattern (which is sometimes corroborated by the title of the piece) indicates the typical succession of so-called \u2018ostinato basses\u2019. Thus we have: three pieces on the Passamezzo antico (nos.&#160;14, 15, 16), three pieces on the Passamezzo nuovo (nos.&#160;1, 2, 3), two <em>gagliarde<\/em> on the bass of the Romanesca: \u2018Cathacchio gagliarda\u2019 (no.&#160;4), and \u2018El poverin gagliarda\u2019 (no.&#160;21), and a <em>gagliarda<\/em> on a bass called the \u2018Gamba\u2019 or \u2018Cara cossa\u2019, from which the Follia later emerged: \u2018Gamba gagliarda\u2019 (no.&#160;6)<\/p>\n<p>A study of the melodic lines reveals certain recurring figurations in the passages of quavers, the smallest note value used in these dances. The most common figurations and their variations are the following, indicated by letters and numbers.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-scaled.jpg\" alt=\"A short musical excerpt showing a simple melodic line in treble clef divided into labelled sections \u201cA,\u201d \u201cA\u2081,\u201d \u201cA\u2081 bis,\u201d \u201cA\u2082,\u201d and \u201cA\u2083.\u201d The passage consists of evenly spaced eighth notes, demonstrating a repeated rhythmic and melodic pattern with slight variations.\" width=\"2560\" height=\"748\" class=\"alignnone size-full wp-image-8389\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-300x88.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-1024x299.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-150x44.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-768x224.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-1536x449.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-2048x598.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.5-850x248.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 5:<\/b> Recurring figurations type A.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6.jpg\" alt=\"A short melodic excerpt in treble clef labeled \u201cB\u201d and \u201cB\u2081.\u201d The music features a sequence of evenly spaced eighth notes forming a smooth, stepwise line with a small rhythmic variation between the two phrases.\" width=\"2382\" height=\"441\" class=\"alignnone size-full wp-image-8390\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6.jpg 2382w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6-300x56.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6-1024x190.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6-150x28.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6-768x142.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6-1536x284.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6-2048x379.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.6-850x157.jpg 850w\" sizes=\"auto, (max-width: 2382px) 100vw, 2382px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 6:<\/b> Recurring figurations type B.<\/span><\/p>\n<p>Additionally, there are ascending and descending passages that are characterised by the repetition of a single figure.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.7.jpg\" alt=\"A single measure of music in treble clef featuring a simple stepwise melody in a flat key, with a sequence of eighth notes forming an ascending passage.\" width=\"1190\" height=\"170\" class=\"alignnone size-full wp-image-8391\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.7.jpg 1190w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.7-300x43.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.7-1024x146.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.7-150x21.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.7-768x110.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.7-850x121.jpg 850w\" sizes=\"auto, (max-width: 1190px) 100vw, 1190px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 7:<\/b> Ascending passages, as they appear in <em>Pa\u00df\u2019e mezo antico primo<\/em> and <em>secondo<\/em>.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8.jpg\" alt=\"A single measure of music in treble clef featuring a simple stepwise melody in a flat key, with a sequence of eighth notes forming an descending passage.\" width=\"2382\" height=\"325\" class=\"alignnone size-full wp-image-8392\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8.jpg 2382w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8-300x41.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8-1024x140.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8-150x20.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8-768x105.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8-1536x210.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8-2048x279.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.8-850x116.jpg 850w\" sizes=\"auto, (max-width: 2382px) 100vw, 2382px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 8:<\/b> Descending passages, as they appear in <em>Pa\u00df\u2019e mezo antico terzo<\/em>.<\/span><\/p>\n<p>It is noteworthy that some of these embellishments are also present in later treatises on diminutions, such as those by Diego Ortiz<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> and Giovanni Luca Conforti.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/span> To illustrate, the figuration indicated at <em>A<\/em> is found in Diego Ortiz\u2019 <em>Tratado de glosas<\/em> (Fig.&#160;9) and also in Conforti\u2019s treatise, in halved note values, where it is referred to as a \u2018Mezzo Groppo\u2019 (Fig.&#160;10). The figure indicated at A1&#160;bis appears in Diego Ortiz, \u2018Clausulas en B fa <span class=\"Symbol\">\u266e<\/span> mi\u2019 (Fig.&#160;11).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-scaled.jpg\" alt=\"A printed page of Renaissance instrumental music titled \u201cClausulas en G sol re ut\u201d from Tratado de glosas by Diego Ortiz (Rome, 1553). The notation is arranged in several horizontal staves filled with dense black note patterns and rhythmic ornamentation, characteristic of mid-16th-century polyphonic style.\" width=\"2560\" height=\"1830\" class=\"alignnone size-full wp-image-8393\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-300x214.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-1024x732.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-150x107.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-768x549.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-1536x1098.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-2048x1464.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-104x74.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.9-850x607.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 9:<\/b> \u2018Clausulas en G sol re ut\u2019 from <em>Tratado de glosas <\/em>by Diego Ortiz (Rome, 1553), fol.&#160;14<span class=\"Hochgestellt\">v<\/span> (line 4) (\u00a9&#160;Museo internazionale e biblioteca della musica di Bologna, &lt;<a href=\"http:\/\/www.museibologna.it\/musica\">http:\/\/www.museibologna.it\/musica<\/a>&gt;).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.10.jpg\" alt=\"A page of printed vocal ornamentation exercises from Breve et facile maniera d\u2019esercitarsi by Giovanni Luca Conforti. The music shows short notated examples labeled with terms such as \u201cGroppo di sopra,\u201d \u201cTrillo,\u201d and \u201cMezzo Groppo,\u201d demonstrating various Renaissance singing embellishments. The aged paper and clear engraving reflect late 16th-century music printing techniques.\" width=\"1762\" height=\"1112\" class=\"alignnone size-full wp-image-8398\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.10.jpg 1762w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.10-300x189.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.10-1024x646.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.10-150x95.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.10-768x485.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.10-1536x969.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.10-850x536.jpg 850w\" sizes=\"auto, (max-width: 1762px) 100vw, 1762px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 10:<\/b> \u2018Mezzo Groppo\u2019 from <em>Breve et facile maniera d\u2019esercitarsi<\/em> by Giovanni Luca Conforti (Rome [1593]), fol.&#160;25<span class=\"Hochgestellt\">r <\/span>(\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;<a href=\"http:\/\/www.museibologna.it\/musica\">http:\/\/www.museibologna.it\/musica<\/a>&gt;).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.11_cut.jpg\" alt=\"A printed page of Renaissance instrumental music titled \u201cClausulas en B fa \u266e mi\u201d from\u00a0Tratado de glosas\u00a0by Diego Ortiz (Rome, 1553). The page contains multiple short contrapuntal examples numbered sequentially, written in dense black notation across five horizontal staves, illustrating ornamentation techniques for viol or keyboard instruments.\" width=\"758\" height=\"530\" class=\"alignnone size-full wp-image-8399\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.11_cut.jpg 758w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.11_cut-300x210.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.11_cut-150x105.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.11_cut-104x74.jpg 104w\" sizes=\"auto, (max-width: 758px) 100vw, 758px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 11:<\/b> \u2018Clausulas en B fa <span class=\"Symbol\">\u266e<\/span> mi\u2019 from <em>Tratado de glosas <\/em>by Diego Ortiz (Rome, 1553), fol.&#160;8<span class=\"Hochgestellt\">v<\/span> (last line).<\/span><\/p>\n<p>The appearance of these figures in the treatises serves as evidence of their established usage, thereby enabling contemporary players to employ them in their performances as a means of varying repetitions.<\/p>\n<h4 id=\"6\">Bar Lines<\/h4>\n<p>Another characteristic of the <em>Intabolatura nova<\/em>, but also (as we shall see) of other sources, is the positioning of the bar lines, which is often unrelated to the metre of the dance. This is particularly evident in the <em>gagliarde<\/em>, where the discrepancy between the implied rhythmic scheme, the metrical indications and the distribution of the bar lines is particularly marked. The function of these vertical lines, as one reads in the treatises, is unrelated to the present-day concept of the distribution of accents. They simply have the function of separating a fixed number of note values and their positioning follows principles different from those of today.<\/p>\n<p>The sense of discomfort that the modern player may perceive when reading these intabulations arises from the habit of considering the bar lines to be means of distributing accents, and not as ways of partitioning quantities subdivided into <em>case<\/em> (chambers) or <em>caselle<\/em> (cells). These aspects have also been remarked on in modern editions. William Oxenbury and Thurston Dart observed that \u2018[w]ith rare exceptions the music is barred regularly with two semibreves to the bar, even in such pieces as galliards which are clearly in triple rhythm.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/span><\/span> Friedrich Cerha draws attention to the fact that \u2018the dances in triple time (galliard and saltarello) are notated in four-beat time, as they were everywhere in Italy until Frescobaldi. [\u2026] It is important for the player to bear in mind that the bar lines are not an indication of metric accentuation.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/span><\/span><\/p>\n<p>On this subject the contemporary treatises refer to durations, times and quantities, and not to accents. The parts comprised between two vertical lines (the <em>case<\/em> or <em>caselle<\/em>) contain a variable number of notes whose overall duration corresponds to a predetermined value. For Girolamo Diruta each <em>casa <\/em>is equal to a breve and must contain two beats (<em>battute<\/em>) or two semibreves: \u2018to understand better, look at these examples of note against note over a falsobordone in the first mode, intabulated with two beats to the bar (<em>casa<\/em>)\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/span><\/span> The content of a <em>casa <\/em>is called <em>compasso <\/em>(measure) or <em>tempo <\/em>(time) by Bartolomeo Lieto: \u2018and the first thing to do is to set out a set of lines [\u2026] and above them, to make some lines that intersect them, which produce a certain space called a cell (<em>casella<\/em>) [\u2026] so that in every cell one can put a measure (<em>compasso<\/em>) or time (<em>tempo<\/em>)\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/span><\/span> Vincenzo Galilei, wishing to indicate specific points of intabulated compositions, also uses the term <em>casa<\/em>, by which he means the space between two consecutive vertical lines.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/span><\/span><\/p>\n<h4 id=\"7\">Keyboard Instruments and\/or Lute<\/h4>\n<p>By citing the works of Bartolomeo Lieto and Vincenzo Galilei we have entered into the realm of the lute. The sharing of literature among instruments that are musically related in so far as they are \u2018perfect\u2019, i.e. suitable for performing polyphony (though dissimilar from the organological point of view), is in particular documented in Spain. In 1557 Luis Venegas de Henestrosa published his <em>Libro de cifra nueva<\/em> (Alcal\u00e1 de Henares: Juan de Brocar) in which, thanks to a new type of notation that can be adopted by polyphonic instruments such as the \u2018tecla, harpa y vihuela\u2019, he &#173;effectively creates a common repertoire.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/span><\/span> This evidence has induced me to consider the &#173;interchangeability of keyboard instruments, specifically in relation to the harp and, for Italian music, the lute. Moreover, since, as Christopher Hogwood asserts, \u2018these keyboard pieces evolved from the lute repertoire\u2019,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/span><\/span> it seems fitting to extend the research to the intabulations for lute of a similar nature.<\/p>\n<p>As Robert Floyd Judd points out, the <em>Intabolatura nova<\/em> \u2018is analogous to numerous lute books which contain dance sets, and may have been Gardane\u2019s attempt to transfer the evidently-popular lute book repertoire to a keyboard notation.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/span><\/span> Already in 1546 Gardane had released three prints of lute intabulations of similar content. The one that is particularly striking right from the title-page is the <em>Intabolatura <\/em>by Iulio Abondante,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/span><\/span> which exclusively contains dances. A significant number of these pieces are concordant with those in Gardane\u2019s comparable <em>Intabolatura<\/em> of 1551.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-scaled.jpg\" alt=\"A 16th-century printed index page titled \u201cTavola Delli Balli Numero 31\u201d from Intavolatura by Iulio Abondante. The page lists 31 dance titles in Italian, such as \u201cPass\u2019e mezzo primo,\u201d \u201cVenetiana gagliarda,\u201d and \u201cLa forza d\u2019Ercole,\u201d organized in two columns. A purple library stamp appears near the bottom center of the page.\" width=\"2560\" height=\"1882\" class=\"alignnone size-full wp-image-8395\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-300x221.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-1024x753.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-150x110.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-768x565.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-1536x1129.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-2048x1506.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.12-850x625.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 12:<\/b> Table of dances of the <em>Intabolatura<\/em> by Iulio Abondante (Venice, 1546), p.&#160;[33].<\/span><\/p>\n<p>The <em>Intabolatura <\/em>by Dominico Bianchini, on the other hand, is a compilation of pieces of various kinds.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/span><\/span> Reprinted in 1554 and 1563, it includes not only dances, but also <em>recercari<\/em> and intabulations of vocal pieces of diverse genres.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.13.jpg\" alt=\"A 16th-century printed index page titled \u201cTavola\u201d from Intabolatura de lauto by Domenico Bianchini (Venice, 1546). The page lists \u201cCanzon Francese\u201d and \u201cBalli\u201d in two columns, including pieces such as \u201cRecercar primo,\u201d \u201cO si io potessi donna,\u201d and \u201cPass\u2019e mezzo.\u201d A faint library stamp from Venice appears near the centre bottom of the page.\" width=\"1417\" height=\"1023\" class=\"alignnone size-full wp-image-8397\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.13.jpg 1417w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.13-300x217.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.13-1024x739.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.13-150x108.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.13-768x554.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.13-104x74.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.13-850x614.jpg 850w\" sizes=\"auto, (max-width: 1417px) 100vw, 1417px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 13:<\/b> Table from the <em>Intabolatura de lauto<\/em> by Dominico Bianchini (Venice, 1546), p.&#160;29 (su concessione del Ministero della Cultura \u2013 Biblioteca Nazionale Marciana. Divieto di riproduzione).<\/span><\/p>\n<p>Likewise, Antonio Rotta\u2019s <em>Intabolatura de lauto<\/em> is composed not only of dances, but also of <em>recercari<\/em>, motets, madrigals and <em>canzoni francese<\/em>.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/span><\/span><\/p>\n<div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.14.jpg\" alt=\"A 16th-century printed index page titled \u201cTavola\u201d from Intabolatura de lauto by Antonio Rotta (Venice, 1546). The page lists musical works in two columns, including dance and vocal titles such as \u201cPass\u2019e mezzo,\u201d \u201cGagliarda,\u201d and \u201cRecercar primo.\u201d The sheet shows visible aging and a round library stamp near the lower right corner.\" width=\"1136\" height=\"798\" class=\"alignnone size-full wp-image-8394\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.14.jpg 1136w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.14-300x211.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.14-1024x719.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.14-150x105.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.14-768x539.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.14-104x74.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.14-850x597.jpg 850w\" sizes=\"auto, (max-width: 1136px) 100vw, 1136px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 14:<\/b> Table from the <em>Intabolatura de lauto<\/em> by Antonio Rotta (Venice, 1546), fol.&#160;52<span class=\"Hochgestellt\">v <\/span>(\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;<a href=\"http:\/\/www.museibologna.it\/musica\">http:\/\/www.museibologna.it\/musica<\/a>&gt;).<\/span><\/p>\n<p>The following titles of pieces from the <em>Intabolatura nova<\/em> of 1551 are also found in the lute sources described above:<\/p>\n<p>nos. 1\u20133: <em>Pa\u00df\u2019e mezzo nuovo<\/em> \u2013 Abondante: no.&#160;1 <em>Pass\u2019e mezo primo<\/em> and no.&#160;11 <em>Pass\u2019e mezo terzo<\/em>; Rotta: no.&#160;11 <em>Pass\u2019e mezo<\/em><\/p>\n<p>no.&#160;5 <em>L\u2019herba fresca gagliarda<\/em> \u2013 Abondante: no.&#160;6 <em>Lherba fresca prima<\/em> and no.&#160;27 <em>Lherbafresca seconda<\/em><\/p>\n<p>no.&#160;6 <em>Gamba gagliarda<\/em> \u2013 Abondante: no.&#160;13 <em>La chara cossa<\/em>; Bianchini: no.&#160;14 <em>La cara cossa<\/em><\/p>\n<p>no.&#160;7 <em>Le forze d\u2019hercole<\/em> \u2013 Abondante: no.&#160;32 <em>Le forze di ercole Pauana<\/em>; Bianchini: no.&#160;11 <em>Le forze derculle<\/em><\/p>\n<p>no.&#160;8 <em>Tu te parti gagliarda<\/em> \u2013 Abondante: no.&#160;25 <em>Tuteparti cor mio caro<\/em>; Bianchini: no.&#160;24 <em>Torza saltarello<\/em><\/p>\n<p>no.&#160;10 <em>Lodesana gagliarda<\/em> \u2013 Bianchini: no.&#160;12 <em>Lodesana<\/em><\/p>\n<p>no.&#160;11 <em>Meza note gagliarda<\/em> \u2013 Abondante: no.&#160;4 <em>La meza notte<\/em>; Bianchini: no.&#160;13 <em>Meza notte<\/em><\/p>\n<p>nos.&#160;14\u201316 <em>Pa\u00df\u2019e mezo antico<\/em> \u2013 Abondante: no.&#160;8 <em>Pass\u2019e mezo secondo<\/em> and no.&#160;29 <em>Pass\u2019e mezo quarto<\/em>; Bianchini: no.&#160;8 <em>Pass\u2019e mezo<\/em>; Rotta: no.&#160;4 <em>Pass\u2019e mezo<\/em><\/p>\n<p>no.&#160;18 <em>La canella gagliarda<\/em> \u2013 Abondante: no.&#160;23 <em>La canella gagliarda<\/em><\/p>\n<p>no.&#160;19 <em>Venetiana gagliarda<\/em> \u2013 Abondante: no.&#160;2 <em>Venetiana gagliarda<\/em><\/p>\n<p>no.&#160;21 <em>El pouerin gagliarda<\/em> \u2013 Abondante: no.&#160;7 <em>El pouerin<\/em><\/p>\n<p>no.&#160;24 <em>Comadrina gagliarda<\/em> \u2013 Abondante: no.&#160;18 <em>La comadrina gagliarda<\/em><\/p>\n<p>no.&#160;25 <em>Fornerina gagliarda<\/em> \u2013 Abondante: no.&#160;16 <em>La fornerina gagliarda<\/em><\/p>\n<h4 id=\"8\">A Practical Example: \u2018La cara cossa\u2019 \/ \u2018Gamba gagliarda\u2019<\/h4>\n<p>In the lute books of Bianchini and Abondante we find two versions of \u2018La cara cossa\u2019 (Fig.&#160;17, 18, Ex.&#160;1, 2), which I have compared with the piece of the same name from the Venetian manuscript (Fig.&#160;16) and the \u2018Gamba gagliarda\u2019 in the <em>Intabolatura nova<\/em> (Fig.&#160;19.) These pieces are based on a bass pattern that is found in many sources and is known by the name of <em>Cara cossa<\/em> or <em>La gamba<\/em>. In his <em>Tratado de glosas<\/em> of 1553, Diego Ortiz inserts some <em>recercadas<\/em> on \u2018Cantos llanos que en Italia comunmente llaman Tenores\u2019, which are repeated as frequently as necessary to allow the soloist to play the variations. Although Ortiz does not indicate the <em>Tenores<\/em> by their names, they are clearly recognisable. The bass line of Ortiz\u2019 \u2018Recercada ottava\u2019 corresponds to the bass pattern known as <em>La cara cossa<\/em> or <em>La gamba. <\/em>In its most common form, it consists of a first, longer phrase and two successive semi-phrases, each of which can be repeated. A range of variants can be identified across the different sources.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.15.jpg\" alt=\"An open page of printed Renaissance instrumental music titled \u201cRecercada Ottava\u201d from Tratado de glosas by Diego Ortiz (Rome, 1553). The score spans two pages filled with dense contrapuntal notation in black ink, demonstrating intricate variations and ornamentation typical of 16th-century viol or keyboard repertoire.\" width=\"1654\" height=\"647\" class=\"alignnone size-full wp-image-8396\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.15.jpg 1654w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.15-300x117.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.15-1024x401.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.15-150x59.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.15-768x300.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.15-1536x601.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.15-850x332.jpg 850w\" sizes=\"auto, (max-width: 1654px) 100vw, 1654px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 15:<\/b> Bass of the \u2018Recercada ottava\u2019 from <em>Tratado de glosas <\/em>by Diego Ortiz (Rome, 1553), fol.&#160;59<span class=\"Hochgestellt\">v<\/span> (\u00a9&#160;Museo internazionale e biblioteca della musica di Bologna, &lt;<a href=\"http:\/\/www.museibologna.it\/musica\">http:\/\/www.museibologna.it\/musica<\/a>&gt;).<\/span><\/p>\n<p>In the Venice manuscript the repetition of the first phrase is written out in full, with variations. The two following semi-phrases have repeat signs. Any further variations are left to the performer.<\/p>\n<div style=\"display:flex; gap:20px; justify-content:center; align-items:flex-start; flex-wrap:nowrap; margin-bottom:20px;\">\n<figure style=\"display:table; margin:0; flex:0 0 auto;\">\n    <img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.16.1.jpg\"\n         alt=\"img src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.16.1.jpg\"\n         style=\"height:235px; width:auto; display:block;\" \/><br \/>\n  <\/figure>\n<figure style=\"display:table; margin:0; flex:0 0 auto;\">\n    <img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.16.2.jpg\"\n         alt=\"Two handwritten pages of Renaissance keyboard music titled \u201cLa cara cossa,\u201d from manuscript I-Vnm Ms. it. Cl. IV, n. 1227 (coll. 11699), fol. 7r. The first page shows neatly penned staves with block chords and running passages in brown ink on aged paper.The second image shows a continuation of the piece \u201cLa cara cossa,\u201d from the same manuscript, followed by the title \u201cLa bella bergamina.\u201d The music is written in brown ink with expressive notation and clear rhythmic groupings, typical of 16th-century Italian keyboard manuscripts.\"\n         style=\"height:235px; width:auto; display:block;\" \/><br \/>\n  <\/figure>\n<\/div>\n<p><span class=\"caption-text\"><b>Figure 16:<\/b> \u2018La cara cossa\u2019, in: I-Vnm Ms. it. Cl. IV, n. 1227 (coll. 11699), fol.&#160;7<span class=\"Hochgestellt\">r-v<\/span> (su concessione del Ministero della Cultura \u2013 Biblioteca Nazionale Marciana. Divieto di riproduzione).<\/span><\/p>\n<\/figcaption>\n<p>Bianchini does not present any variations of the first phrase. According to Franco Fois, the pieces of which the writer of the manuscript proposes only the initial theme in a schematic form are \u2018to be completed with variations entrusted to the performer\u2019s capacity for improvisation\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><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17.jpg\" alt=\"A printed page of Italian lute tablature titled \u201cLa cara cossa,\u201d from\u00a0Intabolatura de lauto\u00a0by Domenico Bianchini (Venice, 1546). The notation uses six-line staves with numbers and letters indicating fret positions and rhythmic symbols, printed clearly in black ink on aged paper.\" width=\"1772\" height=\"1278\" class=\"alignnone size-full wp-image-8414\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17.jpg 1772w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17-300x216.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17-1024x739.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17-150x108.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17-768x554.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17-1536x1108.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17-104x74.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.17-850x613.jpg 850w\" sizes=\"auto, (max-width: 1772px) 100vw, 1772px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 17:<\/b> \u2018La cara cossa\u2019, in: <em>Intabolatura de lauto<\/em> by Dominico Bianchini (Venice, 1546), p.&#160;14 (su concessione del Ministero della Cultura \u2013 Biblioteca Nazionale Marciana. Divieto di riproduzione).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-scaled.jpg\" alt=\"A printed page of Italian lute tablature titled \u201cGagliarda La chara cossa,\u201d from Intabolatura by Iulio Abondante (Venice, 1546). The music is laid out in horizontal lines representing lute strings, with numbers indicating frets and rhythmic symbols above, printed in clear black ink on slightly aged paper.\" width=\"2560\" height=\"1882\" class=\"alignnone size-full wp-image-8415\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-300x221.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-1024x753.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-150x110.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-768x565.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-1536x1129.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-2048x1506.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.18-850x625.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 18:<\/b> \u2018Gagliarda La chara cossa\u2019, in: <em>Intabolatura<\/em> by Iulio Abondante (Venice, 1546), p.&#160;13.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/BianchiniDef0001B.jpg\" alt=\"A modern transcription in standard notation of \u201cLa cara cossa\u201d from Intabolatura de lauto by Domenico Bianchini (Venice, 1546). The score is laid out for keyboard on a grand staff, showing clear melodic lines and harmonic progressions adapted from the original lute tablature.\" width=\"1654\" height=\"1914\" class=\"alignnone size-full wp-image-8419\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/BianchiniDef0001B.jpg 1654w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/BianchiniDef0001B-259x300.jpg 259w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/BianchiniDef0001B-885x1024.jpg 885w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/BianchiniDef0001B-130x150.jpg 130w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/BianchiniDef0001B-768x889.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/BianchiniDef0001B-1327x1536.jpg 1327w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/BianchiniDef0001B-850x984.jpg 850w\" sizes=\"auto, (max-width: 1654px) 100vw, 1654px\" \/><br \/>\n<span class=\"caption-text\"><b>Example 1:<\/b> \u2018La cara cossa\u2019, in: <em>Intabolatura de lauto<\/em> by Dominico Bianchini (Venice, 1546). Transcription: Vania dal Maso.<\/span><\/p>\n<p>In the \u2018Gagliarda La chara cossa\u2019 by Iulio Abondante, we can observe the repetitions written out in a variant form.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/AbondanteDef0001B.jpg\" alt=\"A modern keyboard transcription of \u201cGagliarda La chara cossa,\u201d from&#160;<em>Intabolatura<\/em>&#160;by Iulio Abondante (Venice, 1546). The music is notated on a grand staff, featuring lively rhythmic figures and flowing passagework that reflect the characteristic dance style of the 16th century.&#8220; width=&#8220;1654&#8243; height=&#8220;1969&#8243; class=&#8220;alignnone size-full wp-image-8418&#8243; \/><br \/>\n<span class=\"caption-text\"><b>Example 2:<\/b> \u2018Gagliarda La chara cossa\u2019, in: <em>Intabolatura<\/em> by Iulio Abondante (Venice, 1546). Transcription: Vania dal Maso.<\/p>\n<p>In Gardane\u2019s<em> Intabolatura<\/em>, the corresponding piece is called the <em>Gamba gagliarda<\/em>. As in the Venetian manuscript, the varied repetition of the first phrase is written out in full. The second part moves more freely.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.19.jpg\" alt=\"An open book showing printed keyboard tablature titled \u201cGamba gagliarda,\u201d from\u00a0Intabolatura nova\u00a0(Venice, 1551). The two facing pages contain neatly engraved staves filled with black notation, chords, and ornaments, laid out clearly for early keyboard performance.\" width=\"1654\" height=\"632\" class=\"alignnone size-full wp-image-8420\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.19.jpg 1654w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.19-300x115.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.19-1024x391.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.19-150x57.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.19-768x293.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.19-1536x587.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.19-850x325.jpg 850w\" sizes=\"auto, (max-width: 1654px) 100vw, 1654px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 19:<\/b> \u2018Gamba gagliarda\u2019, in: <em>Intabolatura nova<\/em> (Venice 1551), fols. 6<span class=\"Hochgestellt\">v<\/span>-7<span class=\"Hochgestellt\">r<\/span> (\u00a9&#160;Museo internazionale e biblioteca della musica di Bologna, &lt;<a href=\"http:\/\/www.museibologna.it\/musica\">http:\/\/www.museibologna.it\/musica<\/a>&gt;).<\/span><\/p>\n<h4 id=\"9\">Comparisons With Lute Tablatures: Analogies and Differences<\/h4>\n<p>For the purposes of comparing the aforementioned pieces, I have transcribed the lute tablatures into a notation for a keyboard instrument. The following criteria were employed in the transcription:<\/p>\n<ul>\n<li class=\"Normal_Aufz\">In order to align the <em>finalis<\/em> with that of Gardane, I have conjectured a tuning of the lute in <em>D<\/em>.<\/li>\n<li class=\"Normal_Aufz\">My transcription follows the division by Bianchini of three minims to the bar, according to the metric scheme of the <em>gagliarda<\/em>. To facilitate a comparison I have also done this to Abondante\u2019s <em>gagliarda<\/em>.<\/li>\n<li class=\"Normal_Aufz\">The notes have been distributed between the two hands in accordance with the criteria described by Diruta.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/span><\/span><\/li>\n<li class=\"Normal_Aufz\">As is well known, the Italian lute tablature represents the notes to be played simultaneously as if they had the same value, even in cases where they should have different durations. An objective transcription would faithfully present the note values indicated in musical notation, but the result would be lacking in musical sense and cannot be reproduced <em>sic et simpliciter<\/em> in performance on keyboard instruments. In order to reconstruct a coherent musical texture, it is necessary to resort to a type of interpretative transcription that takes into account the technical characteristics of the instrument for which it is written, providing a coherent graphic appearance.<\/li>\n<li class=\"Normal_Aufz\">In order to provide a better rendering of the musical sense of the pieces, I have also incorporated additions and potential amendments regarding the use of <em>musica ficta<\/em>, in alignment with contemporary music theory.<\/li>\n<\/ul>\n<p>In the course of comparing sources for the lute of comparable content, certain distinctive features, already identified by some scholars, become apparent. As Robert Judd has remarked, \u2018[t]he transfer of lute genres to the keyboard is also common: keyboard dance music is a direct imitation of similar lute volumes, especially evident in Gardane 1551 [\u2026].\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/span><\/span> A comparison of Gardane 1551 with the transcriptions, reveals a close connection between lute and keyboard settings: both rely on quick movement in the upper voice and an accompaniment in slower notes. Conversely, the accompaniment assumes a distinct form in the case of keyboard settings, comprising of fifth-octave chords, whereas on the lute it is accompanied by single notes, a consequence of the technical capabilities of the respective instruments. In the aforementioned modern edition of <em>Balli per cembalo<\/em>, Christopher Hogwood, referring to the Venetian manuscript, states:<\/p>\n<p class=\"tsquotation\">The earliest arrangements offer a \u2018blunt\u2019 keyboard style with which to reconstitute lute pieces as \u2018clavier\u2019 music [\u2026]; the new style is melodic, homophonic and defiantly \u2018keyboard\u2019, often with a \u2018stomping bass\u2019 in the left hand of octave and fifth which, despite its simplicity, cannot \u2013 as sometimes claimed \u2013 be designed for children, since the stretch is too big.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/span><\/span><\/p>\n<h4 id=\"10\">Performance<\/h4>\n<p>Before outlining the conclusions I recommend listening to the pieces mentioned above.<\/p>\n<p>The instrument used is a Venetian Renaissance spinet, a copy by Paolo Zerbinatti (2013) after the original built in Venice by Benedetto Floriani in 1571 and preserved in the Musikinstrumentenmuseum der Universit\u00e4t Leipzig. The programme was performed at the Museo San Colombano of Bologna on 27&#160;October 2023 as an integral part of the presentation and was recorded on 1&#160;June 2024 at 51&#160;Recording Studio, Bonavigo\/Verona (<a href=\"http:\/\/www.51recordingstudio.it\/\">http:\/\/www.51recordingstudio.it\/<\/a>).<\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8350-1\" width=\"850\" height=\"478\" poster=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1-La-cara-cossa-Ms-VE-mp4-image.jpg\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1.-La-cara-cossa-Ms.-VE.mp4?_=1\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1.-La-cara-cossa-Ms.-VE.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/1.-La-cara-cossa-Ms.-VE.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video 1:<\/b> \u2018La cara cossa\u2019, in: I-Vnm Ms. it. Cl. IV, n. 1227 (coll. 11699)<\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8350-2\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2.-La-cara-cossa-Bianchini-corretto.mp4?_=2\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2.-La-cara-cossa-Bianchini-corretto.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2.-La-cara-cossa-Bianchini-corretto.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video 2:<\/b> \u2018La cara cossa\u2019 (transcription by Vania Dal Maso), in: <em>Intabolatura di lauto di Dominico Bianchini<\/em> (Venice, 1546)<\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8350-3\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3.-Abondante-video-corretto.mp4?_=3\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3.-Abondante-video-corretto.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/3.-Abondante-video-corretto.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video 3:<\/b> \u2018Gagliarda La chara cossa\u2019 (transcription by Vania Dal Maso), in: <em>Intabolatura di Iulio Abondante sopra el lauto <\/em>(Venice, 1546)<\/span><\/p>\n<p><span class=\"caption-text\"><b>Video 4:<\/b> \u2018Gamba gagliarda\u2019, \u2018Cathacchio gagliarda\u2019, \u2018Pa\u00df\u2019e mezo nuouo primo, segondo, terzo\u2019, \u2018Pa\u00df\u2019e mezo antico primo, segondo, terzo\u2019, in: <em>Intabolatura nova di varie sorte de balli<\/em> (Venice, 1551)<\/span><\/p>\n<div style=\"margin-bottom: 2em;\">\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8350-4\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.-Gamba-gagliarda-Gardane-1551.mp4?_=4\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.-Gamba-gagliarda-Gardane-1551.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.-Gamba-gagliarda-Gardane-1551.mp4<\/a><\/video><\/div>\n<\/div>\n<div style=\"margin-bottom: 2em;\">\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8350-5\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.2-Cathacchio-gagliarda-Gardane-1551.mp4?_=5\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.2-Cathacchio-gagliarda-Gardane-1551.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.2-Cathacchio-gagliarda-Gardane-1551.mp4<\/a><\/video><\/div>\n<\/div>\n<div style=\"margin-bottom: 2em;\">\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8350-6\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.3-Passemezzo-nuovo-Gardane-1551.mp4?_=6\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.3-Passemezzo-nuovo-Gardane-1551.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.3-Passemezzo-nuovo-Gardane-1551.mp4<\/a><\/video><\/div>\n<\/div>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8350-7\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.4-Passemezzo-antico-Gardane-1551.mp4?_=7\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.4-Passemezzo-antico-Gardane-1551.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/4.4-Passemezzo-antico-Gardane-1551.mp4<\/a><\/video><\/div>\n<h4 id=\"11\">Conclusions<\/h4>\n<p>In the course of this project, a number of questions emerged during the various stages of the research process, including the following:<\/p>\n<ul>\n<li class=\"Normal_Aufz\">Can lute tablatures be useful for keyboard players, and if so, in what manner?<\/li>\n<li class=\"Normal_Aufz\">What are the similarities and differences between pieces written for the lute or keyboard instrument?<\/li>\n<li class=\"Normal_Aufz\">Is this music to be considered functional for the purpose of dance?<\/li>\n<li class=\"Normal_Aufz\">What aspects are left to the performer\u2019s discretion?<\/li>\n<\/ul>\n<p>In order to respond to these questions, different aspects of the Gardane dances have been considered, such as the chordal progression and corresponding cadences, the metrical movement with the respective note values and consequent \u2018accents\u2019 (which are dependent on the value of the note rather than its position within the bar lines). Additionally, the melodic development as a whole has been taken into account.<\/p>\n<p>The observations, presented in a sequential order, could be as follows:<\/p>\n<ul>\n<li class=\"Normal_Aufz\">In cases of doubt, lute tablatures can provide certain solutions regarding repeats. If we compare a piece with the various versions found in the lute tablatures, we can find examples of repetitions. For example, in Bianchini\u2019s \u2018La cara cossa\u2019, at the end of b.&#160;8 we find the ritornello sign, while in Abondante\u2019s \u2018Gagliarda La chara cossa\u2019, bb.&#160;9\u201316 are a varied repetition of bb.&#160;1\u20138. This evidence suggests that the initial eight-bar phrase of a <em>Cara cossa<\/em> or <em>Gamba<\/em> ought to be repeated.<\/li>\n<li class=\"Normal_Aufz\">Moreover, a comparison with the lute intabulations can clarify any uncertainties regarding the placemnet of the bar lines, which we previously discussed. For example, in Bianchini\u2019s version of \u2018La cara cossa\u2019, the bar lines are positioned in accordance with modern criteria, thereby revealing the otherwise concealed metre.<\/li>\n<li class=\"Normal_Aufz\">Comparing pieces based on the same bass, but intended for different sound media, one notes that the organological characteristics of each instrument require the use of appropriate idioms. If one performs the notes represented in lute tablatures literally on the keyboard, one finds a certain inadequacy of musical expression. In Bianchini\u2019s \u2018La cara cossa\u2019, for example, in bb.&#160;18\u201319 and 22\u20133 the absence of bass becomes particularly pronounced when the piece is performed on a keyboard instrument.<\/li>\n<li class=\"Normal_Aufz\">Performing or listening to music originally conceived for the lute on the harpsichord facilitates a better understanding of the observations made by Robert Floyd Judd, who characterises Gardane\u2019s tablature as an \u2018attempt\u2019 \u2018to transfer the evidently-popular lute book repertoire to a keyboard notation\u2019,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/span><\/span> and Christopher Hogwood\u2019s description of the \u2018new style\u2019 as \u2018melodic, homophonic and defiantly \u201ckeyboard\u201d, often with a \u201cstomping bass\u201d in the left hand of octave and fifth\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/span><\/span><\/li>\n<li class=\"Normal_Aufz\">The transcription of lute tablature into keyboard notation should not be understood as a simple transfer from one method of notation to another, but should be adapted to align with the characteristics of the target instrument. Accordingly, the initial step in transcribing or adapting a musical piece is to define the duration of each note, thereby establishing the musical texture. To illustrate, one may consider the transcription of Bianchini\u2019s \u2018La cara cossa\u2019, bb.&#160;9\u201310, where the first note, assigned to the left hand, is to be held for the entire bar, whereas in the lute tablature it is represented with the value of a quaver. In addition, it is possible to introduce extemporaneous sounds at the moment of performance. These may be added either as embellishments of the melodic line, or as fifth and octave additions to the bass, as seen in the <em>Intabolatura nova<\/em>.<\/li>\n<\/ul>\n<p class=\"Normal_Block\">The evidence presented thus far indicates that there are no insurmountable obstacles to the practical use of this music for dancing purposes. With reference to Bianchini Franco Fois makes the following observation:<\/p>\n<blockquote>\n<p class=\"tsquotation\">It seems evident in fact that the <em>Intabolatura<\/em> does not propose compositional stylisations by way of dance, but rather ready-made recipes always containing [\u2026] the rhythmic impulse of movement. These themes were conceived for the accompaniment of actual dancing, [\u2026] in a more private sphere either for enjoyment or for the study of steps and choreographic movements.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/span><\/span><\/p>\n<\/blockquote>\n<p>In this regard William Oxenbury and Thurston Dart are in agreement with Fois. Concerning the <em>Intabolatura nova<\/em>, they specify that \u2018There can be no doubt that the whole collection was intended as music for dancing to\u2019.<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>In his edition of <em>Balli per Cembalo<\/em>, Christopher Hogwood asserts that \u2018given the differences between all versions of this music (both rhythmic and harmonic), the player need not be too respectful of the text in performance nor too highbrow about its style.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/span><\/span> Furthermore, the performer is at liberty to determine the number of repetitions and the nature of the variations to be incorporated in each repetition. This freedom, however, must be constrained in accordance with the prevailing style and musical idiom of the period. As previously indicated, an examination of the <em>Intabolatura nova<\/em> reveals the presence of recurring <em>minute<\/em> (to use Diruta\u2019s term): formulas that, due to the frequency of their use, form a specific vocabulary. When varying the repetitions I would recommend adopting such models. Finally, for the more experienced performers, I would leave open the possibility of considering these basses as a source of subjects to vary for virtuosos, up to degrees of elaboration such as those of the two <em>pass\u2019e mezzo<\/em> that open the collections \u2013 mentioned at the beginning of this article \u2013 by Marco Facoli (1588) and by Giovanni Maria Radino (1592).<\/p>\n<p class=\"Normal_rb\" lang=\"de-DE\" xml:lang=\"de-DE\">(Translation of the article and, unless otherwise stated, quotations from the original sources: Hugh Ward-Perkins)<\/p>\n<h4>Endnotes<\/h4>\n<hr class=\"HorizontalRule-1\" \/>\n<ol>\n<li id=\"fn1\">\n<p>I-Vnm Ms. it. Cl. IV, n.&#160;1227 (coll. 11699); &lt;<a href=\"https:\/\/www.internetculturale.it\/jmms\/iccuviewer\/iccu.jsp?id=oai%3A193.206.197.121%3A18%3AVE0049%3ACSTOR.247.2202&amp;mode=all&amp;teca=marciana\"><span class=\"Hyperlink\">https:\/\/www.internetculturale.it\/jmms\/iccuviewer\/iccu.jsp?id=oai%3A193.206.197.121%3A18%3AVE0049%3ACSTOR.247.2202&amp;mode=all&amp;teca=marciana<\/span><\/a>&gt; (accessed on 10&#160;July 2024). cf. Alexander Silbiger, <em>Italian Manuscript Sources of 17th Century Keyboard Music<\/em> (Ann Arbor, 1980), 12\u201313; Knud Jeppesen, \u2018Ein altvenezianisches Tanzbuch\u2019, in: <em>Festschrift Karl Gustav Fellerer zum sechzigsten Geburtstag<\/em>, ed. Heinrich H\u00fcschen (Regensburg, 1962), 245\u201363.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>RISM 1551<span class=\"Hochgestellt\">21<\/span>, Brown 1551<span class=\"Tiefgestellt\">5<\/span>; &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_R\/R178\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_R\/R178\/<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<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:\/\/uurl.kbr.be\/1559753\"><span class=\"Hyperlink\">https:\/\/uurl.kbr.be\/1559753<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p><em>Keyboard Dances<\/em> <em>from the Earlier Sixteenth Century<\/em>, ed. Daniel Heartz, CEKM 8 (Rome, 1965), xii.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>On Antonio Gardane (later \u2018Gardano\u2019) see Mary S. Lewis, <em>Antonio Gardano. Venetian Music Printer 1538\u20131569. A Descriptive Bibliography and Historical Study<\/em>, 3&#160;vols. (New York, 1988\u20132005).<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>\u2018Operetta rarissima e di grande importanza per la Storia Musicale, avendosi un saggio della musica da ballo in voga nella met\u00e0 del decimosesto secolo.\u2019 Gaetano Gaspari, <em>Catalogo della biblioteca del liceo musicale di Bologna<\/em>, 5&#160;vols. (Bologna, 1905), iv: <em>Pratica<\/em>, 27.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Martin Paul Maloney, <em>Tempo, gratia e misura. A Study of Fabrizio Caroso\u2019s Nobilt\u00e0 di Dame, 1600<\/em> (Victoria, 2016), 288, &lt;<a href=\"https:\/\/www.monash.edu\/arts\/music-archive\/digital-publications\"><span class=\"Hyperlink\">https:\/\/www.monash.edu\/arts\/music-archive\/digital-publications<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Diego Ortiz, <em>Tratado de glosas sobre clausulas y otros generos de puntos en la musica de violones \/ El primo libro<\/em> [\u2026] <em>nel qual si tratta delle glosse sopra le cadenze &amp; altre sorte de punti in la musica del violone<\/em> (Rome: Valerio &amp; Luigi Dorico, 1553), &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000037748\"><span class=\"Hyperlink\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000037748<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Giovanni Luca Conforto, <em>Breve et facile maniera d\u2019esercitarsi <\/em>[\u2026] <em>a far passaggi<\/em> (Rome [1593]), &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_B\/B060\/\"><span class=\"Hyperlink\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/&#173;ripro\/gaspari\/_B\/B060\/<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p><em>Intabolatura Nova di Balli (Venice, 1551)<\/em>, ed. William Oxenbury and Thurston Dart (London, 1965, rev. 1968), 16.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p><em>Intabulatura Nova (Venedig 1551)<\/em>, ed. Friedrich Cerha (Wien\/M\u00fcnchen, 1975), 24: \u2018Die drei&#173;schl\u00e4gigen T\u00e4nze (Gagliarde und Saltarello) sind wie allenthalben in Italien bis zu Frescobaldi herauf im Vierertakt notiert. [\u2026] F\u00fcr den Spieler ist es wichtig, da\u00df er sich vergegenw\u00e4rtigt, da\u00df die Taktstriche keinen Hinweis f\u00fcr die metrischen Schwerpunkte liefern.\u2019<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Girolamo Diruta, <em>Il Transilvano<\/em> <em>dialogo sopra il vero modo di sonar organi, &amp; istromenti da penna<\/em> (Venice: Giacomo Vincenti 1593), fol.&#160;7<span class=\"Hochgestellt\">r<\/span>: \u2018per maggior intelligentia mirate questi esempii di nota contra nota sopra d\u2019un Falso bordone del primo Tuono intavolato \u00e0 due battute per casa\u2019; &lt;<a href=\"http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422\"><span class=\"Hyperlink\">http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422<\/span><\/a>&gt; (accessed on 29&#160;July 2024).<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Bartolomeo Lieto, <em>Dialogo quarto di musica<\/em> (Naples: Matthio Cancer, 1559), fol.&#160;Aiii<span class=\"Hochgestellt\">v<\/span>: \u2018e primo si deve ordinare una scala di linee [\u2026] e sopra quelle, farci alcune linee per traverso, le quali producano una certa distanza domandata casella [\u2026] perch\u00e9 in ogni casella se li pone un compasso, o ver tempo\u2019; &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/264659\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/264659<\/span><\/a>&gt; (accessed on 10&#160;July 2024). Cf.&#160;Dinko Fabris, \u2018Lute Tablature Instructions in Italy: A Survey of the Regole from 1507 to 1759\u2019, in: <em>Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation<\/em>, ed. Victor Anand Coelho (Cambridge, 1997), 16\u201346, at 31\u20132.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Vincenzo Galilei, <em>Fronimo. Dialogo<\/em> [\u2026] <em>nel quale si contengono le vere e necessarie regole del intavolare la musica nel liuto<\/em> (Venice: Girolamo Scotto, 1568), 14, &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/257147\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/257147<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>John Griffiths, \u2018Keyboard Tablatures and Imaginary Instrumental Interchange in the Sixteenth Century\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 24\u201341, &lt;<a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p><em>Balli per cembalo. 90 Keyboard Pieces from Early Italian Manuscripts<\/em>, ed. Christopher Hogwood (London, 2007), x.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>\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, ii, app.&#160;A, p.&#160;10, &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 30&#160;July 2024).<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p><em>Intabolatura di Iulio Abondante sopra el lauto de ogni sorte de balli<\/em> (Venice: Antonio Gardane, 1546), &lt;<a href=\"https:\/\/digital.onb.ac.at\/RepViewer\/viewer.faces?doc=DTL_3150023&amp;order=1&amp;view=SINGLE\"><span class=\"Hyperlink\">https:\/\/digital.onb.ac.at\/RepViewer\/viewer.faces?doc=DTL_3150023&amp;order=1&amp;view=SINGLE<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p><em>Intabolatura de lauto di Dominico Bianchini ditto Rossetto, di recercari, motetti, madrigali, canzon francese, napolitane et balli libro primo<\/em> (Venice: Antonio Gardano, 1546), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/273297\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/273297<\/span><\/a>&gt;; &lt;<a href=\"https:\/\/digital.onb.ac.at\/RepViewer\/viewer.faces?doc=DTL_3844369&amp;order=1&amp;view=SINGLE\"><span class=\"Hyperlink\">https:\/\/digital.onb.ac.at\/RepViewer\/viewer.faces?doc=DTL_3844369&amp;order=1&amp;view=SINGLE<\/span><\/a>&gt; (edition of 1563); &lt;<a href=\"https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b10867429h?rk=42918;4\"><span class=\"Hyperlink\">https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b10867429h?rk=42918;4<\/span><\/a>&gt; (edition of 1554) (accessed on 10&#160;July 2024).<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p><em>Intabolatura de lauto de<\/em> [\u2026] <em>Antonio Rotta di recercari, motetti, balli, madrigali. Canzon francese da lui composti &amp; intaboladi<\/em> [\u2026]. <em>Libro primo<\/em> (Venice: Antonio Gardane, 1546), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00071964\"><span class=\"Hyperlink\">https:\/\/mdz-nbn-resolving.de\/details:bsb00071964<\/span><\/a>&gt; (accessed on 10&#160;July 2024).<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Franco Fois, <em>Dominico Bianchini ditto Rossetto. Un friulano musicista e mosaicista nella Venezia del Cinquecento<\/em> (Cagliari, 2005), 44: \u2018temi destinati alla danza da completare con variazioni affidate alla capacit\u00e0 d\u2019improvvisazione dell\u2019esecutore\u2019.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Girolamo Diruta, <em>Seconda parte del Transilvano<\/em> <em>Dialogo diviso in quattro libri<\/em> (Venice: Giacomo Vincenti 1609), lib.&#160;i, &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; (accessed on 30&#160;July 2024).<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Judd, \u2018The Use of Notational Formats\u2019 (see n.&#160;17), i, 81.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p><em>Balli per cembalo<\/em>, ed. Christopher Hogwood (see n.&#160;16), ix.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>Judd, \u2018The Use of Notational Formats\u2019 (see n.&#160;17), ii, app.&#160;A, p.&#160;10.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p><em>Balli per cembalo<\/em>, ed. Christopher Hogwood (see n.&#160;16), ix.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Fois, <em>Dominico Bianchini <\/em>(see n.&#160;21), 89: \u2018Pare evidente infatti che l\u2019<em>Intabolatura<\/em> non proponga delle stilizzazioni compositive a mo\u2019 di danza, bens\u00ec delle ricette pronte per l\u2019uso contenenti sempre [\u2026] l\u2019impulso ritmico del movimento. Questi temi erano concepiti per l\u2019accompagnamento della danza vera e propria, [\u2026] in una condizione pi\u00f9 raccolta per il diletto o per lo studio dei passi e dei movimenti coreografici.\u2019<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Oxenbury\/Dart (eds.), <em>Intabolatura Nova di Balli<\/em> (see n.&#160;10), 16.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p><em>Balli per cembalo<\/em>, ed. Christopher Hogwood (see n.&#160;16), xi.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 class=\"12\">Bibliography<\/h4>\n<p><\/p>\n<p class=\"bibliography\"><em>Balli per cembalo. 90 Keyboard Pieces from Early Italian Manuscripts<\/em>, ed. Christopher Hogwood (London, 2007)<\/p>\n<p class=\"bibliography\">Giovanni Luca Conforto, <em>Breve et facile maniera d\u2019esercitarsi <\/em>[\u2026] <em>a far passaggi<\/em> (Rome [1593]), &lt;<a href=\"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_B\/B060\/\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_B\/B060\/<\/a>&gt;<\/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\/\">http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_D\/D019\/<\/a>&gt;<\/p>\n<p class=\"bibliography\">Girolamo Diruta, <em>Il Transilvano dialogo sopra il vero modo di sonar<\/em> <em>organi, &amp; istromenti da penna<\/em> (Venice: Giacomo Vincenti, 1593), &lt;<a href=\"http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422\">http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422<\/a>&gt;<\/p>\n<p class=\"bibliography\">Dinko Fabris, \u2018Lute Tablature Instructions in Italy: A Survey of the Regole from 1507 to 1759\u2019, in: <em>Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation<\/em>, ed. Victor Anand Coelho (Cambridge, 1997), 16\u201346<\/p>\n<p class=\"bibliography\">Franco Fois, <em>Dominico Bianchini ditto Rossetto. Un friulano musicista e mosaicista nella Venezia del Cinquecento<\/em> (Cagliari, 2005)<\/p>\n<p class=\"bibliography\">Vincenzo Galilei, <em>Fronimo. Dialogo<\/em> [\u2026] <em>nel quale si contengono le vere e necessarie regole del intavolare la musica nel liuto<\/em> (Venice: Girolamo Scotto, 1568), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/257147\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/257147<\/a>&gt;<\/p>\n<p class=\"bibliography\">Gaetano Gaspari, <em>Catalogo della biblioteca del liceo musicale di Bologna<\/em>, 5&#160;vols. (Bologna, 1905), iv<\/p>\n<p class=\"bibliography\">John Griffiths, \u2018Keyboard Tablatures and Imaginary Instrumental Interchange in the Sixteenth Century\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 24\u201341, &lt;<a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/\">https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-keyboard-tablatures\/<\/a>&gt;<\/p>\n<p class=\"bibliography\"><em>Intabolatura de lauto de<\/em> [\u2026] <em>Antonio Rotta di recercari, motetti, balli, madrigali. Canzon francese da lui composti &amp; intaboladi<\/em> [\u2026]. <em>Libro primo<\/em> (Venice: Antonio Gardane, 1546), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00071964\">https:\/\/mdz-nbn-resolving.de\/details:bsb00071964<\/a>&gt;<\/p>\n<p class=\"bibliography\"><em>Intabolatura de lauto di Dominico Bianchini ditto Rossetto, di recercari, motetti, madrigali, canzon francese, napolitane et balli libro primo<\/em> (Venice: Antonio Gardano, 1546), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/273297\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/273297<\/a>&gt;; &lt;<a href=\"https:\/\/digital.onb.ac.at\/RepViewer\/viewer.faces?doc=DTL_3844369&amp;order=1&amp;view=SINGLE\">https:\/\/digital.onb.ac.at\/RepViewer\/viewer.faces?doc=DTL_3844369&amp;order=1&amp;view=SINGLE<\/a>&gt; (edition of 1563); &lt;<a href=\"https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b10867429h?rk=42918;4\"><span class=\"Hyperlink\">https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b10867429h?rk=42918;4<\/span><\/a>&gt; (edition of 1554)<\/p>\n<p class=\"bibliography\"><em>Intabolatura di Iulio Abondante sopra el lauto de ogni sorte de balli<\/em> (Venice: Antonio Gardane, 1546), &lt;<a href=\"https:\/\/digital.onb.ac.at\/RepViewer\/viewer.faces?doc=DTL_3150023&amp;order=1&amp;view=SINGLE\">https:\/\/digital.onb.ac.at\/RepViewer\/viewer.faces?doc=DTL_3150023&amp;order=1&amp;view=SINGLE<\/a>&gt;<\/p>\n<p class=\"bibliography\"><em>Intabolatura Nova di Balli (Venice, 1551)<\/em>, ed. William Oxenbury and Thurston Dart (London, 1965, rev. 1968)<\/p>\n<p class=\"bibliography\"><em>Intabulatura Nova (Venedig 1551)<\/em>, ed. Friedrich Cerha (Wien\/M\u00fcnchen, 1975)<\/p>\n<p class=\"bibliography\">Knud Jeppesen, \u2018Ein altvenezianisches Tanzbuch\u2019, in: <em>Festschrift Karl Gustav Fellerer zum sechzigsten Geburtstag<\/em>, ed. Heinrich H\u00fcschen (Regensburg, 1962), 245\u201363<\/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\">https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile<\/a>&gt;<\/p>\n<p class=\"bibliography\"><em>Keyboard Dances<\/em> <em>from the Earlier Sixteenth Century<\/em>, ed. Daniel Heartz, CEKM 8 (Rome, 1965)<\/p>\n<p class=\"bibliography\">Mary S. Lewis, <em>Antonio Gardano. Venetian Music Printer 1538\u20131569. A Descriptive Bibliography and Historical Study<\/em>, 3&#160;vols. (New York, 1988\u20132005)<\/p>\n<p class=\"bibliography\">Bartolomeo Lieto, <em>Dialogo quarto di musica<\/em> (Naples: Matthio Cancer, 1559), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/264659\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/264659<\/a>&gt;<\/p>\n<p class=\"bibliography\">Martin Paul Maloney, <em>Tempo, gratia e misura. A Study of Fabrizio Caroso\u2019s Nobilt\u00e0 di Dame, 1600<\/em> (Victoria, 2016), 288, &lt;<a href=\"https:\/\/www.monash.edu\/arts\/music-archive\/digital-publications\">https:\/\/www.monash.edu\/arts\/music-archive\/digital-publications<\/a>&gt;<\/p>\n<p class=\"bibliography\">Diego Ortiz, <em>Tratado de glosas sobre clausulas y otros generos de puntos en la musica de violones \/ El primo libro<\/em> [\u2026] <em>nel qual si tratta delle glosse sopra le cadenze &amp; altre sorte de punti in la musica del violone<\/em> (Rome: Valerio &amp; Luigi Dorico, 1553), &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000037748\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000037748<\/a>&gt;<\/p>\n<p class=\"bibliography\">Alexander Silbiger, <em>Italian Manuscript Sources of 17th Century Keyboard Music<\/em> (Ann Arbor, 1980)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Vania Dal Maso &nbsp; Introduction The history of Italian keyboard instrument literature is initially linked to tablatures of vocal pieces. This music was conceived and created with different sound destinations in mind than those typically associated with instrumental music. The first autonomous pieces in Italian keyboard music sources that were not derived from pre-existing models &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-8350","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>Bassi ostinati and Ornamental Formulas in the Intabolatura nova di varie sorte de balli, Venice 1551 (I-Bc R.178), and in Similar Contemporary Sources for the Lute &#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\/mdwp017-012\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bassi ostinati and Ornamental Formulas in the Intabolatura nova di varie sorte de balli, Venice 1551 (I-Bc R.178), and in Similar Contemporary Sources for the Lute &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Vania Dal Maso &nbsp; Introduction The history of Italian keyboard instrument literature is initially linked to tablatures of vocal pieces. This music was conceived and created with different sound destinations in mind than those typically associated with instrumental music. 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