Playing «Musica prisca caput» by Nicola Vicentino (1555) on the recorder consort

Abstract

This thesis primarily focuses on the methodology for practicing “Musica prisca caput” (1555), a composition by Nicola Vicentino (1511 — 1577), specifically with regard to the recorder consort. This marks the initial step in a series of endeavors as a performing musician, aiming to interpret enharmonic music on either the recorder or the cornett. In this study, a potential link is established between the Renaissance recorder and “Musica prisca caput” by examining relevant passages in Girolamo Cardano's (1501-1576) treatise, De Musica through a technical and microtonal lens. To provide a broader context, we gain insight into Nicola Vicentino's persona and his relation to the genera and the piece. This is followed by a section that addresses the reasons for choosing the recorder consort to perform this piece and examines the historical aspects of this choice. The central part of the thesis focuses on a detailed exploration of a specific rehearsal methodology, incorporating particular instruments and repertoire. Its goal is to solve the problem of effectively practicing microtonal music on the recorder consort and making it a distinct, masterable musical language. Finally, the study includes a comparative analysis of similar project, offering valuable insight into alternative interpretations of compositions similar to “Musica prisca caput.”