onclusion and Acknowledgements
Conclusion
Bermudo`s methodology has allowed me to expand my applied knowledge of intabulation, both in my teaching and performance as a vihuela player. My hope is to bring this structured methodology into the pedagogical canon in order to inform the next generations of historically informed musicians. The aim of this thesis is to provide readers with a more comprehensive understanding of the Spanish methods of intabulating sacred vocal polyphonic music, with a focus on Bermudo’s Declaración de los instrumentos musicales.
Through the process of comparing the original vocal pieces by Cristóbal de Morales to the intabulated version included in Fuenllana’s Orphénica Lyra, it was possible to discern the nuances not described by Juan Bermudo, such as the use of musica ficta and/or embellishments. Intabulated pieces are an essential source of musical practice, providing us with an important historical context of 16th-century polyphony music in Spain. By comparing the lesser known “Spanish school” with the florid ”Italian school” of intabulation, we can observe their differences, particularly regarding the use of embellishments. In the case of the vihuela intabulation of sacred vocal music, it is clear in the notation that a singer or another instrument could be included in the performance. In contrast to the “Italian school”, the lack of diminutions in Spanish vihuela intabulations allows the singer(s) to orient themselves better in the polyphonic texture of the piece.
In the example of Benedictus de la Missa Tristezas me matan originally by Cristóbal de Morales, I experienced first-hand the process of intabulation informed from the following primary sources: Declaración de los instrumentos musicales by Juan Bermudo, Il Fronimo by Vincenzo Galilei, Orphénica Lyra by Miguel de Fuenllana, and both volumes of Morales’s books of masses.
The most useful result of this thesis for my own practical vihuela playing is the newfound ability to employ the seven drawn vihuelas suggested by Bermudo to inform my own personal intabulation method. Prior to this exploration of literature, I did not have the tools necessary to intabulate certain pieces on my vihuela without previous transposition, thus limiting my repertoire.
Another important result of this research has been obtaining a more comprehensive understanding of the historical context during the time of the vihuela. This has broadened my musical experience and allowed a fuller appreciation of the music in 16th-century Spain.
Acknowledgements
I would like to express my gratitude to all who were supporting me in writing this thesis. I wish it was possible to mention everybody!
Firstly, I am very grateful to my supervisor Wouter Verschuren and my Master Circle leader Kathryn Cok for their advice, guidance and valuable feedback. I really appreciate all of their understanding and encouragement.
I would like to thank Tim Braithwaite for his enthusiasm, incredible breadth of knowledge and friendship. It was Tim who invited me to sing in the Polyphony club four years ago and it has influenced me for life. It led me to open up possibilities that were unimaginable at that time. He introduced me to the vocal polyphony world. I am very grateful for all the conversations, shared literature and advice.
Next, I must thank John Griffiths, not only for agreeing to be my supervisor, for all the advice he gave me during the most wonderful “vihuela lunch” in Leuven, but also for all of his work and research regarding vihuela. I grew up reading his articles and he is one of the reasons why vihuela became my very dearest musical instrument.
I cannot forget my main subject teachers Joachim Held and Mike Fentross, who always supported me and they had endless patience in every class I brought another intabulation of Cristóbal de Morales. Here I also need to express my gratitude to Karel Fleischlinger, who was the first to introduce me to vihuela.
I brought many people into my “intabulation bubble” over the past two years: most importantly talented Dutch bass-baritone and dear friend Jaap van der Wel. I would like to thank him for his patience, and for not being afraid to sing music with me that he was not so familiar with until then. I believe this is only the beginning of a beautiful and long collaboration.
Another very important person in this journey was Magdalena Kasprzyk-Dobija. I am very grateful for her help with all audio-visual material, all of her valuable advice and for making the best coffee in The Hague with Artur Dobija.
Next, Hanna Crudele, a great friend and the best English language editor I could ever imagine, must be mentioned. Together with Eva van Ingen, they have supported me throughout.
None of this would have been possible without the help, unconditional support and love of my family. In the end I want to thank my mom, my sister Emča and my brother Janek for everything!
