Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (often women), when or when not to transpose pieces with chiavette (or high clefs), and how instrumental embellishments relate to the canzonetta's text as well as musical texture. This examination contributes to a better understanding of Italian sixteenth-century performance practice, especially of the ways in which instruments were used along with voices in domestic music making.

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