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Archicembalo

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Title: Archicembalo  
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Archicembalo

Reproduction of the archicembalo

The archicembalo (or arcicembalo, ) was a musical instrument described by Nicola Vicentino in 1555. This was a harpsichord built with many extra keys and strings, enabling experimentation in microtonality and just intonation.

Contents

  • Construction 1
  • Tuning 2
  • Uses 3
  • Spelling and pronunciation 4
  • Surviving archicembali 5
  • Notes 6
  • References 7
  • External links 8

Construction

The archicembalo had two manuals, but unlike those on a normal harpsichord these two keyboards were used to provide extra pitches rather than a timbral difference. Both manuals contained all of the usual white and black keys, but in addition each black key was divided into two parts so that a distinction could be made between a sharp or flat note. The lower manual also included black keys between B and C, and between E and F. In total there were 36 keys available in any octave, each of which could be tuned to a different pitch. (manual diagram)

Tuning

Diagram of the archicembalo's tuning in cents.

There were two systems of tuning the archicembalo considered by Vicentino:

  1. The most important was the extended quarter-comma meantone temperament, which given such a wide gamut of fifths becomes almost exactly a system of 31 equal divisions of the octave (see: 31 equal temperament). This arises because after a cycle of 31 quarter-comma-tempered fifths, the 32nd pitch will be remarkably close to a pitch already existing in the system; thus five of Vicentino's 36 possibilities became practically redundant in this system. He suggested that these five be tuned instead according to the second manner described below.
  2. Vicentino offered an alternative tuning in which the upper keyboard was tuned a quarter-comma higher than the lower, allowing pure fifths by playing chords across the manuals, giving a limited system of triadic just intonation. This tuning still permits modulation to a wide range of keys, but not in a completely circular fashion as with the first tuning described above, and still only modulates by the meantone-tempered fifth, not by the pure fifth.

Uses

Vicentino used his archicembalo to test his own theories of tuning, and realize the more obscure ancient Greek genera which had been neglected for centuries. In addition to his experiments, he found it very helpful for accompaniment of vocalists and instrumental players, as it was capable of coping with the subtle intonational differences inherent in musical practice in a way that no keyboard instrument had before.

For composers of the time, the archicembalo made total modulatory freedom a possibility without sacrificing the purity of meantone temperament's just thirds as with 12-tone equal temperament. This was exploited by those who learned to play it, such as Luzzasco Luzzaschi. Contemporary composers had been writing vocal music in a very chromatic style for some time, but it was instruments such as the archicembalo that permitted them to explore the instrumental possibilities of chromaticism with a purity of intonation.

Spelling and pronunciation

Vicentino named his instrument the archicembalo[1] with possible reference to Greek prefix ἀρχι- which means "major, principal" (as in the word

  • Lower manual plan. Casimiri II 173 foldout music 28 NB.23. Alternate Exhibit Objects. Library of Congress Vatican Exhibit
  • The Archicembalo of Nicola Vincentino (pdf - 2.4mb) Marco Tiella. The English Harpsichord vol.1, nr. 5 (1975)
  • Musical Experience gained through Working with the Archicembalo Reconstruction (pdf - 1.5mb) Marco Tiella. International Conference in Musicology, Kraków (2003)
  • Margo Schulter on Vicentino's keyboards
  • )Vito Trasuntino - 1609Clavemunicum omnitonum modulis diatonicis cromaticis et enearmonicis ( on display at the International museum and library of music of Bologna

External links

  • Alves, Bill, "The Just Intonation System of Nicola Vicentino", 1/1: Journal of the Just Intonation Network 5, No. 2 (Spring 1989), pp. 8–13. [2]
  • Kaufmann, Henry W., "More on the Tuning of the Archicembalo", Journal of the American Musicological Society 23 (Spring 1970), pp. 84–94.
  • Pio, Stefano, Viol and Lute Makers of Venice 1490–1630/Liuteria Veneziana 1490-1630, English translation by Marina De Marchi and Robert Schoen. Venice: Venice Research, 2011. ISBN 9788897039617. www.veniceresearch.com

References

  1. ^ In "L'antica mvsica ridotta alla moderna prattica" (Roma, 1555): "il nostro instrumento, detto Archicembalo" (f.11v), "nel trattato del quinto libro sopra lo stormento, da me detto Archicembalo" (f.16v), "come è l'Archicembalo nostro" (f.17v). For more authentic entries of 'archicembalo' see the digitalizated version of the Vicentino's treatise at Thesaurus musicarum Italicarum.
  2. ^ As in the article "Archicembalo (ital. Erzchembalo)" found in: Riemann Musik-Lexikon. 12te völlig bearb. Auflage. Sachteil. Mainz, 1967, S.49;
  3. ^ Bottrigari, Il Desiderio.
  4. ^ As e.g. in the article "Arcicembalo, arciorgano", in: Harvard Dictionary of Music. Second edition revised and enlarged by Willi Apel. Cambridge, Massachusetts: Harvard University Press, 1969, p.48 (and in all later reprints); Oxford Companion to Music, ed. by Alison Latham. Oxford: Oxford University Press, 2002, p.58; in: Henry W. Kaufmann and Robert L. Kendrick, "Nicola Vicentino", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers 2001. Accessed online at www.oxfordmusiconline.com; Lorenzo Bianconi. "Gesualdo, Carlo, Prince of Venosa, Count of Conza", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers, 2001.and Sibyl Marcuse, Musical Instruments: A Comprehensive Dictionary, corrected edition. New York: W. W. Norton & Company, Inc., 1975, p.80.
  5. ^ Edmond Strainchamps, "Luzzaschi, Luzzasco", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers, 2001; Henry W. Kaufmann, "More on the Tuning of the Archicembalo", Journal of the American Musicological Society 23 (1970), pp.84–94.
  6. ^ Edwin M. Ripin. "Arcicembalo [archicembalo]". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers, 2001.
  7. ^ Ancient Music Adapted to Modern Practice. Translated, with Introduction and Notes, by Maria Rika Maniates. Edited by Claude V. Palisca. New Haven and London: Yale University Press, 1996 (for numerous entries of [English] usage 'archicembalo' in this book see the 'Index' on p.475).
  8. ^ (1) Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik. Bd.3. Kassel: Bärenreiter-Verlag, 1954, Sp.415 u.a.O. (2) Riemann Musik-Lexikon. 12te völlig bearb. Auflage. Sachteil. Mainz, 1967, S.49; ib., Personenteil L-Z. Mainz, 1961, S.849; (3) Brockhaus-Riemann Musiklexikon. Bd.1. Mainz: Schott; München: Piper, 1995, S.51; (4) Peter Niedermuller, "Vicentino". In: Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik. 2te Aufl. Personenteil. Bd.16. Kassel, Basel, 2006, Sp. 1540-1543.
  9. ^ Enciclopedia della musica Ricordi. Vol.1 Milano: Rizzoli Editore, 1972, pp.115-116; Vol.2. Milano: Rizzoli Editore, 1972, p.122; Vol.6. Milano: Rizzoli Editore, 1972, p.318.
  10. ^ Cordes M. Nicola Vicentinos Enharmonik. Musik mit 31 Tönen. Graz, 2007. Contains CD with complete music examples of 'enharmonic' genus found in the Vicentino's treatise.
  11. ^ Volker Rippe, "Nicola Vicentino—Sein Tonsystem und seine Instrumente. Versuch einer Erklärung", Die Musikforschung 34 (1981), pp.393–412. Citation on pp.397–98.; see also Dizionario Garzanti della lingua italiana, Milan: Garzanti Editore, 1963, entries "archi-" and "arci-".
  12. ^ See the original inscription at

Notes

Only one keyboard instrument using his 31-note-to-the-octave system survives from the Renaissance: the "Clavemusicum Omnitonum Modulis Diatonicis Cromaticis et Enarmonicis",[12] built by harpsichord maker Vito Trasuntino of Venice (1526 – after 1606) in 1606 intended to play the diatonic, chromatic and enharmonic melodies (moduli). It is on display at the International museum and library of music in Bologna. The Clavemusicum is accompanied by a tuning device, called TRECTA CORDO, that clearly shows an uneven division of the octave, with the usual meantone temperament for the first row of upper keys with C#, Eb, F#, G# and Bb.

Surviving archicembali

Clavemusicum omnitonum (Vito Trasuntino, Venice 1606) - Bologna, International museum and library of music

[11]

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