236:(ancient music adapted to modern practice), in which he fully explained his ideas linking ancient Greek musical theory and practice with contemporary works. In this work, he expanded and justified many of the ideas which he first brought up in his debate with Lusitano. Whether or not Lusitano ever attempted to refute Vicentino's expanded version is not known; however, Vicentino's book was influential with the group of madrigalists working in Ferrara in the next two decades, including
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Frontispiece in the
Vicentino's treatise on music. Inscriptions: 1 (outer circle) Incerta et occulta scientiae tuae manifestasti mihi; 2 (inner circle) Archicymbali divisionis chromaticique ac enarmonici generis praticae inventor; 3 (under the portrait) Nicolas Vicentinus anno aetatis
135:, being more like a refereed prize fight, with a panel of judges; they awarded the prize to Lusitano. In 1555 Vicentino published an account of the debate that was recognised as misleading at the time, but nevertheless went on to influence later composers.
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survives from the
Renaissance: the ‘Clavemusicum Omnitonum Modulis Diatonicis Cromaticis et Enearmonicis', built by Vito Trasuntino of Venice in 1606 to play the diatonic, chromatic and enharmonic. It is on display at the
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and others wrote music which was impossible to sing in tune without having a system for adjusting the pitch of chromatic intervals in some way. Several theorists attacked the problem, including
Vicentino.
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are not well tuned. Vicentino's solution in effect divides the octave into 31 equal parts, with good intonation for the thirds and sixths but somewhat beating narrow fifths.
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in all keys. The standard way to modulate through all keys on a keyboard instrument later became to divide the octave into twelve equal parts, called
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Edwin M. Ripin: "Arcicembalo", Henry W. Kaufmann/Robert L. Kendrick, "Nicola
Vicentino," Grove Music Online ed. L. Macy (Accessed January 8, 2005),
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Grantley McDonald. “Music, Magic, and
Humanism in Late Sixteenth-Century Venice: Fabio Paolini and the Heritage of Ficino, Vicentino and Zarlino.”
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During the late 1540s, his reputation as a music theorist grew. He established his reputation as a composer with his publication of a book of
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In the 1550s, in Italy, there was a surge of interest in chromatic composition, some of which was part of the movement known as
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genus alone (as
Lusitano claimed) or (as Vicentino claimed) was best described as a combination of the diatonic, chromatic, and
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in Venice in 1546, and in 1551 he took part in one of the most famous events in 16th century music theory, the debate between
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Cathedral of
Ferrara. Ferrara was the principal center of chromatic experimentation in the second half of the 16th century.
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and performance practice (about which little was known, but was then being uncovered, through the work of scholars such as
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This article includes several remarkable recordings of vocal groups, retuned in the studio to the 31-tone system.
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Grantley McDonald. “Proportions of the Divine: Nicola
Vicentino and Augustine’s Theology of the Trinity.” In
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The Arch-Musician. BBC Radio 3 programme broadcast
Saturday 27 March 2010; rebroadcast Saturday 23 July 2011
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to contemporary music practice, in particular whether contemporary music could be explained in terms of the
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in a harmonically sophisticated style, it was his work as a music theorist that gained him renown.
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After a short time in Rome, Vicentino returned to
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in 1565. Around 1570, he had some connection with the Bavarian court in
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Unbowed, Vicentino continued his experiments, and went on to build the
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Inventor of practical division of chromatic and enharmonic genus.
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of 1575–1576, though his exact date of death is not known.
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While Vicentino was known as a composer, and wrote two books of
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Rasch, Rudolf (2002). "Why were enharmonic keyboards built?".
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Another area in which Vicentino did original work was musical
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in 1551. The topic of the debate was the relationship of the
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Proportions. Science, Musique, Peinture & Architecture
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At some time in the 1530s or early 1540s, he went to
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Twelve Microtonal Etudes for Electronic Music Media
410:. The Life and Works of Nicola Vicentino. (s.l.),
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449:The New Grove Dictionary of Music and Musicians
509:. Translated, with Introduction and Notes, by
493:L' antica musica ridotta alla moderna prattica
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402:He described it briefly in a handbill named
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232:In 1555, he published his most famous work,
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468:. New York, W.W. Norton & Co., 1954.
62:Little is known of his early life. Born in
42:(1511 – 1575 or 1576) was an Italian
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441:. The Life and Works of Nicola Vicentino.
272:Vicentino's most famous invention was the
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359:Schumann, Garrett (2020-04-23).
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445:, 1966. OCLC 906570.
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220:. Composers such as
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61:
39:
38:
1336:1511 births
1261:just pieces
1049:Delta scale
1044:Gamma scale
1034:Alpha scale
1024:Non-octave-
1014:Tunings and
975:Ivor Darreg
800:Béla Bartók
669:(1533–1604)
657:(1527–1575)
651:(1525–1603)
645:(1517–1590)
48:Renaissance
1330:Categories
1212:Groups and
1171:techniques
1039:Beta scale
890:Joe Maneri
850:Alois Hába
830:John Eaton
370:2021-09-09
291:arciorgano
125:enharmonic
54:keyboard.
52:microtonal
1193:Sonido 13
958:Inventors
910:Ezra Sims
788:Composers
600:Composers
282:intervals
196:madrigals
129:microtone
102:madrigals
18:Vicentino
1188:Semitone
727:See also
693:(d.1601)
681:(d.1587)
483:Archived
388:(Book).
263:Keyboard
249:dynamics
121:diatonic
553:(IMSLP)
549:at the
284:in any
265:of the
91:Ferrara
64:Vicenza
1267:Mother
1016:scales
905:Sevish
472:
455:
278:octave
218:genera
200:motets
176:plague
172:Munich
117:genera
72:Venice
1178:Limit
319:Notes
309:major
297:organ
214:modes
182:Works
168:Milan
156:Siena
470:ISBN
453:ISBN
311:and
240:and
216:and
198:and
110:Rome
95:Este
82:and
58:Life
286:key
162:at
86:).
70:in
1332::
1133:96
1128:72
1123:58
1118:53
1113:41
1108:34
1103:31
1098:24
1093:23
1088:22
1083:19
1078:17
1073:15
464:,
390:22
363:.
244:.
224:,
773:e
766:t
759:v
585:e
578:t
571:v
513:.
433:.
373:.
293:,
210:,
20:)
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