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University Microfilms, Inc., Ann Arbor, Michigan (C) Copyright By ’ ‘ ''..... lî This dissertation has been | I microfilmed exactly as received 6 7-2420 j BRINK, Paul Robert, 1938- THE ARCHICEIdBALO OF NICOLA VICENTINO, T he Ohio State University, Ph.D., 1966 Music University Microfilms, Inc., Ann Arbor, Michigan (c) Copyright by Paul Robert Brink 1967 THE ARCHICEMBALO OF NICOLA VICENTINO DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Paul Robert Brink, B.M,, M.A. ***** The Ohio State University 1966 Approved by / Adviser School of Music PLEASE NOTE; Pages of musical examples are not original copy. Print is light and indistinct. Filmed as received. UNIVERSITY MICROFILMS,INC. VITA January 10, 1938 Born - Indianapolis, Indiana 1960 ........... B.M., Butler University, Indianapolis, Indiana 1960-1963 Graduate Assistant, School of Music, The Ohio State University, Columbus, Ohio 1963 ........... M.A., The Ohio State University, Columbus, Ohio 1963-1965 . Assistant Instructor, School of Music, The Ohio State University, Columbus, Ohio 1965-1966 . Instructor, School of Music, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music Theory and Composition ii COm'ENTS Page LIST OF TABLES ................. iv LIST OF FIGURES .............................................. V LIST OF EXAMPLES ................... vii LIST OF PLATES ................................................ ix Chapter I. INTRODUCTION .......................................... 1 II. RELATIONSHIP OF THE NOTATION TO THE KEYBOARD .... 4 III. THE A R C H I CEMBALO..................................... 30 Side view Top view IV. T U N I N G ................................................ 85 Appendixes I. HEIGHT OF KEYS ABOVE FRAME .......................... 155 II, MAXIMUM LIMIT OF " x " ................................. 156 III. "c" EQUALS "x " ......................................... 159 IV. "d” EQUALS "x " ............ 161 V. "e" EQUALS "x " ......................................... 163 VI. "f" EQUALS "x " ......................................... 165 VII. BFATS o f m a j o r a n d m i n o r T H I R D S .................... 167 VIII. PERFECT FIFTHS ........................................ 168 BIBLIOGRAPHY............... 169 iii LIST OF TABLES Table Page 1. Intervals........................................... 18 2. Comparison of V a l u e s .............................. 91 3. Twelve Tone Scale with Equally Beating Fifths . 107 4. Values for Version 1 ................... 121 5. Values for Version 2 .............................. 123 6. Values for Version 3 .............................. 131 7. Values of Large Ninths ....................... 133 8. Interval Ratios ..................................... 136 9. Lute Ratios .............................. 139 10. Value of Five Perfect Fifths above First Order . 140 11. Value of Five Sixth Order Notes ................... 142 12. Values for Version 4 144 13. Range of Interval Size .............. 146 14. Comparison of Interval Ranges ...................... 148 iv LIST OF FIGURES Figure Page 1. Two Frames of Keys ...... ......... ...... 9 2. Side View of K e y s ................................... 39 3. Side View of Action ................................. 41 4. Two Frames ............................................. 45 5. First Frame and Bottom B o a r d s ...................... 47 6. Side View at First S t r i n g .......................... 58 7. Position of N u t ..................................... 59 8. First F r a m e .......................................... 63 9. Second Frame .......................................... 64 10. Distal Ends of K e y s .................................... 66 11. Center of Register Template ........................ 70 12. Jack Sequence of Second Frame K e y s .......... 72 13. First Position for Missing J a c k ................... 74 14. Second Position for Missing J a c k .................... 75 15. Third Position for Missing J a c k .................... 76 16. Jacks on K e y s ....................................... 77 17. Top V i e w .............................................. 82 18. Front View ............................... 83 19. Projection . ............. 84 20. Limits for Missing D i m e n s i o n ................. 157 21. "c" Equals " x " ........................................ 160 LIST OF FIGURES (Cont.) Figure Page 22. "d" Equals " x " ..................................... 162 23. "e" Equals "x" . 164 24. "f" Equals " x " .............................................. 166 Vi LIST CF EXAMPLES Example Page 1. Notation Based on Small A ............................ 12 2. Division of a T o n e ................................... 14 3. Scale of D i e s e s ....................................... 14 4. Notation in Ascending Order.......................... 15 5. Octave of 64 Commas .................................. 16 6. Series of 30 Fifths ................................... 21 7. Notation for First Tuning ............................ 25 8. Notation for Second T u n i n g ..................... 28 9. Twelve Tone Scale with Fifths Equal 719 Cents .... 88 10. Thirty-one Tone Equal Tempered Scale ................ 92 11. Common Fifths of 695.4 Cents ........................ 96 12. Common Fifths and Perfect Fifths .................... 97 13. Common Fifths of 695.4 and 701.4 Cents .............. 99 14. Common Fifths and 9 Perfect Fifths . ............. 100 15. Formula for 12 Tone S c a l e ............................ 105 16. Vicentino's Tuning S e q u e n c e ............. 109 17. Aaron's Tuning Sequence .............................. Ill 18. Values for Aaron's Tuning ....................... Ill 19. Continuation of Vicentino's Sequence ................. 114 20. A Complete Sequence .......................... 115 21. Sequence for Version 1 ............................... 118 vii LIST OF EXAMPLES (Cont.) Example Page 22. Sequence for Version 2 ............................. 120 23. Sequence for Version 3 ........................ 128 24. Ninths Divided with Equal Beats .................... 142 25. First and Second T u n i n g ............................. 151 viii LIST OF PLATES Plate Page I. Register Template ............... 5 11. Second F r a m e ..................................... 6 111. First Frame ................................ 7 IV. Detail of First Frame ............................ 8 V. Right Side of Three Templates Placed One Above 32 the Other ..................................... VI. Detail of Register Template ...................... 68 Vll. Fingerboard of Lute .............................. 136 ix CHAPTER I INTRODUCTION In Don Nicola Vicentino^ prablished I'antica masica ridotta alia modema prattica» The work is divided into six books, the first called the "Book of Theory" and the remaining five the "Five Books of the Practice of Music." In the book of theory, Vicentino discusses the three Greek genera of music, the diatonic, chromatic, and enharmonic, and the various species of the fourth, fifth, and octave. Th5.s information is attributed to lythagoras. It appears that Vicentino's source was Boethius. In the first four books of the practice of music, Vicentino describes a method in which the three genera can be used in "modern" r music. He gives examples of a notation for the three genera and examples of compositions employing the three genera. In the sixth and final book of the text, the fifth book of the Prat tic a, Vicentino describes an instrument which he calls the Archicembalo. The Archicenibalo is capable of playing the genera from any pitch level. This instrument, its construction, its tuning, and the notation necessary for its use, will be the concern of this paper. In this fifth book of the Prattica, Vicentino assumes that ^For biographical inforitation, see Henry W. Kaufmann, "The life and Works of Nicola Vicentino (l5ll-1^76)" (unpublished Ph« D. dissertation. Harvard University, i960). 2 the reader understands the notation which has bee" described in the four previous books. Because much of what Vicentino says in the fifth book depends on a basic understanding of the notation, we shall deal with the notation first. This will be accomplished in Chapter Hi; Also included in the second chapter will be a description of the keyboard of the Archicexibalo and the relation of the keyboard to the notation. Chapter III describes the"structure of the Archicembalo in detail. The purpose in this chapter is to solve all the necessary problems so that a working instrument could be constructed following Vicentino's design. Chapter IV is concerned with the tuning of the instrument. The solution which is sought must fulfill two requirements. First it must meet Vicentino's requirements, i.e., it must produce the types of intervals which he describes. It must also be capable of being tuned, not with twentieth century electronic devices, but with methods employed in the sixteenth century. Along with the description of the Archicembalo, the fifth ' book of the Prattica contains the instructions for tuning and exercises designed, not only to show how the system works, but also as practical studies for the performer. And in this book, Vicentino reviews much of the basic theory, because, as he states in Chapter IX (Vic. p. lli3v), a person might want to use this book separately, 2 •All direct references to Vicentino's L'antica musica will be made in this manner. The following is a brief outline of Book Five. Chapter I: Preface, Chapter II: Description of the Archicembalo. Chapter III and IV: Names of the keys in the six
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