Between Theory and Practice. Introducing a research project on Nicola Vicentino’s «L’antica musica» (Rome 1555)

Nicola Vicentino’s voluminous treatise «L’antica musica ridotta alla moderna prattica» (Rome 1555) is one of the pivotal texts on music, performance practice and music theory of the 16th century, which, however, has been underestimated and only partially evaluated so far. The author is notorious for his uncompromising implementation of the ancient Greek genera (diatonic, chromatic and enharmonic) into a modern musical practice, for which he also developed keyboard instruments with 31 or 36 keys per octave (the so-called ‘Archicembalo’ and ‘Arciorgano’). These instruments not only enabled the conscious inclusion of smallest tonal steps and thus a new tonal language, but according to self-advertising Vicentino also the playing of music from «tutte le nationi del mondo». That in 1551 with his purist views he caused a famous dispute on the question of accidentals and the definition of the chromatic genus in contemporary music, which he lost, did much to marginalise him. His dubious reputation can also explain the neglect of further research of his ideas in musicology and in practical music until recently.

Based on the results of the preceding research project «Studio31», successfully completed in 2017 (www.projektstudio31.com), now for the first time a reconstruction of his ideas and music is also possible in sound. This offers the possibility to combine philological and historical research in an innovative way with musical performance practice and methods of Performance studies, which themselves are a bridge to current music research (e.g. microtonal music). All of this leads to a unique combination of Early Music theory, music practice of the Renaissance and Compositional practice of the 20th and 21st centuries.

The overall aim of the project is the research of the historical, intellectual and musical context of Nicola Vicentino (1510-1577) and the reception and the influence of his ideas and reflections on music and music theory, as have been transmitted mainly by his treatise of 1555. This aim will be achieved by the following research activities:

1) The basis is a critical edition of the treatise, which is still missing today, with German and English translation and sound samples. This digital edition of the music treatise with musical notation and sound examples also has an exemplary character.

2) In addition, an analysis and summary presentation of musical ideas and the system of Vicentino in the context of contemporary music theory and performance practice.

3) Further a positioning in the cultural, aesthetic and musical context of his time through a thorough research of templates and influences due to new literature studies and archival research.

4) Finally, the development of a digital open access platform to present the materials and results to the wider public (from researchers to composers and musicians). This will be developed in cooperation with ‘DaSCH’ (Data and Service Center for the Humanities; https://dasch.swiss).