References

^[*] Jeffery T. Kite-Powell (jkitepow@gmail.com), Professor Emeritus at Florida State University, received his PhD in Musicology from the University of Hamburg, Germany. In addition to teaching music history, he directed the Florida State University Early Music Ensemble and the select vocal group Cantores Musicæ Antiquæ, for which he received Early Music America’s Thomas Binkley Award for Outstanding Achievement by a Collegium Director. He has published a translation with commentary of Praetorius’s Syntagma Musicum III (Oxford University Press) and a critical edition of the Visby organ tablature (Heinrichshofen), and he served as co-editor of A Performer’s Guide to Seventeenth-Century Music, 2nd ed., and editor of A Performer’s Guide to Renaissance Music, 2nd ed. (Indiana University Press). He is past president of Early Music America.

^[1] An earlier version of this article appeared in the Proceedings of the Göteborg International Organ Academy 1994, ed. Hans Davidsson and Sverker Jullander (University of Göteborg,1995), 99–129. It has undergone extensive updates so that recent research and improvements could be incorporated. The digital format has enabled an expansion that includes the addition of color markings in the facsimiles, as well as sound examples and additional scores.

^[2] Cleveland Johnson, Vocal Compositions in German Organ Tablatures 1550–1650: A Catalogue and Commentary (New York: Garland Publishing, 1989), 146–47; see 123–47.

^[3] The organ tablature books in the Levoča collection can be divided into pairs according to their purported scribes. Marta Hulková, “Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš),” Studia Musicologica 56/1 (2015): 7. Ascribing the organist-copyists’ names to the six tablature books occurred in the 1950s: Tablature Books of Caspar and Johann Plotz (shelf mark 13990a /1 A/ and 13990b /2 A/); Tablature Books of Samuel Marckfelner I and II (shelf mark 13991 /6 A/ and 13994 /5 A/); Tablature Books of Ján Šimbracký I and II (shelf mark 13992 /3 A/ and 13993 /4 A/).

^[4] Jena Kalinayová-Bartová, “Music by the Gabrielis in the Levoča and Bardejov Collections,” Musica Iagellonica 1 (2017): 95, https://www.ceeol.com/search/article-detail?id=719939.

^[5] Péter Király, “Hoftrompeter in Ungarn im 16.–17. Jahrhundert,” in “Städtisches und höfisches Musikleben in Ungarn und in den Nachbarregionen im 16.-19. Jahrhundert,” special issue, Studia Musicologica Academiae Scientiarum Hungaricae 46, no. 1/2 (2005): 14 n. 41: “Nach einem zeitgenössischen Chronisten wurde vor dem Wagen der am 25. Febr 1626 in Löcse (dtsch. Leutschau, heute Levoča, SK) angekommenden Katharina von Brandenburg, zweite Ehefrau des Gábor (Gabriel) Bethlen, ‘8 Trompeter gantz roth zierlich bekleidet mit silbernen Trompeten vorher geritten.’ ”

^[6] See Hulková’s scholarly work, especially “Central European,” 3–37, in particular pp. 7 n. 14 (a list of her disciples), 34, and 36–37: Appendix 2, entitled “Selected studies and monographs on the manuscript tablature books.” See also Kalinayová-Bartová’s important article: “Music by the Gabrielis,” 95–116.

^[7] Marta Hulková, “The Reception of the Oeuvre of Composers Active at the Court of Rudolf II in Prague in the Contemporaneous Musical Repertoire of Historical Upper Hungary,” Hudební věda 52, no. 2 (2015): 141, https://kramerius.lib.cas.cz/uuid/uuid:5c051f90-80f6-4e28-8104-1ff19a5819a2.

^[8] Johnson, Vocal Compositions, 79 and n. 18 (citing interview with Hulková held in the Protestant Rectory of Levoča, CSSR, on 6 July 1982); Hulková, “Central European,” 25–26 (the quoted portions are on p. 26).

^[9] Hulková, “Central European,” 34.

^[10] The number 1100 comes from Hulková, “Central European,” p. 6. Many of the pieces are anonymous.

^[11] Johnson, Vocal Compositions, 79 (citing Hulková).

^[12] It is beyond the scope of this discussion to provide details on the provenance of the organists, cantors, copyists, and intabulators, the types and sizes of choirs, or the numbers and kinds of instrumentalists available in many of the cities in this region during the first half of the seventeenth century, but there is an abundance of recent research that does shed light on all of these issues. Research in the 1980s was advanced by Slovak musicologists Richard Rybarič, Frantšek Matús, and Marta Hulková; portions of their work have been translated into German. Marta Hulková, “Levočská zbierka hudobnín” (PhD diss., Komensky Universität, Bratislava, 1986); Hulková, two articles in Zborník Filosofickej a Pedgogickej fakulty, Univerzity Komenského—Musaica: “Von der Forschung der Musikgeschichte in der Slovakei—Orgel-Tablaturbücher der Musikaliensammlung von Levoča,” Musaica 18 (1985): 57–79, and “Das Musikleben in Städten von Zips (Spiš) am Ende des 16. und im 17. Jahrhundert,” Musaica 21 (1988): 85–104; Ján Šimbracký, Opera omnia, vol. 1, ed. Richard Rybarič (Bratislava: Opus, 1982), containing a Magnificat and several motets; and Frantšek Matús, ed., Tabulaturbuch des Samuel Marckfelner (Bratislava: Opus, 1981). In addition to this author, American musicologists Cleveland Johnson and Jerry Cain provide insightful information on this collection in English: on Johnson, see n. 2 above; Jerry Cain, “The Anonymous Sacred Concertos of Levoča Mus Ms 13993: An Analysis and Critical Edition” (MA thesis, Florida State University, 1994). See nn. 3, 4, and 6 above for more recent research.

^[13] On Hamburg, Germany, for instance, see Jeffery Kite-Powell, The Visby (Petri) Organ Tablature: Investigation and Critical Edition, Quellen-Kataloge zur Musikgeschichte 14 (Wilhelmshaven: Heinrichshofen, 1979), https://www.academia.edu/42217807/, on the choice of “fine, serious, motets and touching, stirring psalms and chorales” for the order of worship (p. 20); and on the duties of the organist: “The organist was assigned more duties in the liturgy by Aepin in that he was instructed to play for the Introit, Responsory, Magnificat, Benedictus, German chorales and psalms and during the Communion, at which time he was only supposed to repeat the verses the choir had sung. If time allowed, he could conclude a chorale begun by the choir” (p. 17); and “Another of the organist’s obligations was to take the place of the specially trained choir which sang figural music on High Feast Days when it was engaged at one of the other of the four principal churches in Hamburg. It may be assumed that the organist either improvised a motet or some other piece on a choral melody suitable for the occasion or played one that had been intabulated and figurated from a tablature book. It is also possible that instrumentalists called Ratsmusikanten, participated here as at other times during the church year. The job of the Ratsmusikanten … was described as in de orgel blasen and involved the playing of all or some of the voices of a composition with the organ” (p. 20). See also Liselotte Krüger, Die hamburgische Musikorganisation im XVII Jahrhundert (Baden-Baden: Verlag Valentin Koerner, 1933), “Die Kantoren,” 11–105, and “Die Organisten,” 106–83.

^[14] Hulková, “Das Musikleben,” 87 n. 11: “In Levoča-Schulgesetz (1589) in dem Kapitel ‘über das Singen’ wird geschrieben: ‘Der Unterricht des Gegenstandes wird zur Pflicht des Kantors, der, die ersten Tage der Woche die Regeln so unterrichten wird, dass er sie verständig für Praxis der Schuler bearbeitet. Folgende Tage wird er den Gesang unterrichten, damit er die Jungen und Jünglinge auf geschulte und gleichmodulierte Stimme gewöhnt. Gelichzeitig erklärt er, wie man die Gleichrichtung und Modulation der Stimme die Kehle verengen muss, den Mund herabziehen und die Selbstlaute beim Singen zu formieren soll, weiter macht er darauf aufmerksam, damit nicht alle gleich Atem schöpfen und so im Singen zu keinem Hiat kommt, sondern dass sie abwechselnd einatmen und die Stimme festhalten.’ ”

^[15] See Kite-Powell, The Visby, 20, for an example from Hamburg. For more information concerning the participation of instruments in the church service and a contract with the Ratsmusikanten dated 1592, again from Hamburg, see Hugo Leichsenring, Hamburgische Kirchenmusik im Reformationszeitalter, ed. Jeffery Kite-Powell, Hamburger Beiträge zur Musikgeschichte 20 (Hamburg: Verlag der Musikalienhandlung Wagner, 1982), 72–74, https://www.academia.edu/44757682/. See also Krüger, Die hamburghische, 118–20.

^[16] Hulková, “Das Musikleben,” 89; and from p. 88 the city of Levoča as a particular example: “Neben finanziellen Möglichkeiten der Stadtkasse haben reiche Stadtbürger überdies in Interesse einer Qualitätserhöhung der Musikproduktionen in der St. Jacob Kirche noch Geld beigetragen.”

^[17] Hulková, “Das Musikleben,” 88: “A. Turzo hinterließ in seinem Testament aus dem Jahr 1581 einen Geldbetrag, der zur Unterstützung des Kantors und Organisten mit seinem Gehilfen bestimmt war; ebenfalls, J. Minoris, ein Gebürtiger aus Levoča, in Jahren 1607–1620 Rektor der Schule, gründetet aus eigenen Mitteln eine Nadation [i.e., Stiftung?] von 100 Goldenen, die auch fürs Bedecken des Orgelspielunterrichtes dienen sollte.” See also Hulková, “Central European,” p. 8: “It is not clear, where the organists active in Zips … received their education in music.…  In the sixteenth and seventeenth centuries, the standard of musical education in the towns of Zips … was high. This is evidenced by the firm position of music as a subject in school curricula preserved in Zips, as well as by extant compendia of music.”

^[18] Omar Gergelyi and Karol Wurm, Historické organi na Slovensku (Historical Organs in Slovakia) (Bratislava: Opus, 1982), 40–3.

^[19] For inventory lists of the various tablature books, see Hulková, “Central European,” 25 n. 83.

^[20] Figures and descriptions are taken from Cain, “The Anonymous Sacred Concertos,” 12–15.

^[21] It would be a logical assumption that J.S.O.L. is the abbreviation for “Ján Šimbracký ‎‎Organist Leibicÿ,” but he was never the organist in L’ubica, but rather in Spišské Podhradie (Kirchdorf). Email communication from Marta Hulková on 24 May 2020. See also Hulková, “Central European,” 25 n. 82: “So far only his [the scribe’s] initials are known. The archive materials that could document and specify the identity of the organist of Leibitz, active in the 1630s and 1640s, are not available.”

^[22] Lydia Schierning, Die Überlieferung der deutschen Orgel- und Klaviermusik aus der 1. Hälfte des 17. Jahrhunderts, Schriften des Landesinstituts für Musikforschung, Kiel, 12 (Kassel: Bärenreiter Verlag, 1961), 114: “Von allen diesen Hss. kann gesagt werden, daß die Sammlungen von Kompositionen sind, die jeweils nach dem praktischen Gebrauch der Benutzer zusammengestellt wurden. Daneben wurde die eine oder andere Tabulatur auch als Unterrichtsbuch verwandt, doch dienen alle Hss. in erster Linie als Repertoire-Sammlungen. Der inhaltliche Unterschied liegt in den zahlreiche, ungleichen Aufgabengebiet der Organisten.”

^[23] Works in this collection that use tablature notation include “Nun komm der Heiden Heyland,” BWV 599; “Der Tag, der ist so freudenreich,” BWV 605; “Wir Christenleut’,” BWV 612 (see Figure A.3 in Appendix); “Mit Fried und Freud ich fahr dahin,” BWV 616; “Herr Gott, nun schleuß den Himmel auf,” BWV 617; “Christus, der uns selig macht,” BWV 620a; “Wir danken dir, Herr Jesu Christ, daß du für uns gestorben bist,” BWV 623; “Hilf, Gott, daß mir’s gelinge,” BWV 624 (the pedal is in tablature letters, the manuals in staff notation).

^[24] A system long in use in Italy, referred to as partitura, in which each voice had its own staff.

^[25] Friederich Niedt, The Musical Guide: Parts 1 (1700/10), 2 (1721), and 3 (1717), trans. Pamela Poulin and Irmgard Taylor (Oxford: Clarendon Press, 1989), 13. The 1710 edition of part 1 has been digitized by F-Pn: Friderich Erhard Niedtens/ Musici, Musicalische Handleitung … (Hamburg: Benjamin Schillern, 1710), https://gallica.bnf.fr/ark:/12148/bpt6k11751823.

^[26] Michael Praetorius, Syntagma Musicum III, trans. and ed. Jeffery T. Kite-Powell (New York: Oxford University Press, 2004), 135. The original text: Michael Praetorius, Syntagmatis Musici Michaelis Praetorii C. Tomus Tertius (Wolfenbűttel: Elias Holwein, 1619), 126 [incorrectly numbered 146; publisher corrected pagination by hand]; digitized by D-Mbs, https://stimmbuecher.digitale-sammlungen.de/view?id=bsb00103225, and D-Dl, https://imslp.org/wiki/Special:ReverseLookup/278581. (The original will hereafter be identified as Syntagma Musicum, vol. 3.) An online transliteration and critical edition can be found in Thesaurus Musicarum Germanicarum: Michael Praetorius: Syntagma Musicum, Band 3 (1619), ed. Christophe Guillotel-Northmann (TMG, 2015), http://tmg.huma-num.fr/xtf/view?docId=tei/Praetorius%201619/Praetorius%201619.xml;chunk.id=div_2. The quoted passage and several others are also found in Johnson, Vocal Compositions, 124–34, in the original German.

^[27] Kite-Powell, The Visby, 64.

^[28] Niedt, The Musical Guide, 14.

^[29] Niedt, The Musical Guide, 23.

^[30] Niedt, The Musical Guide, 24.

^[31] Thérèse de Goede-Klinkhamer, “ ‘Del suonare sopra il basso’: Concerning the Realization of Early Seventeenth-Century Italian Unfigured Basses,” Performance Practice Review 10, no. 1 (1997): 83, https://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1193&context=ppr.

^[32] Jack Ashworth and Paul O’Dette, “Proto-continuo: Overview and Practical Applications,” in A Performer’s Guide to Renaissance Music, 2nd ed., ed. Jeffery Kite-Powell (Bloomington, IN: Indiana University Press, 2007), 225–37. For another discussion of how to deal with unfigured continuo realization, see Stephen Bonta, The Sonatas of Giovanni Legrenzi, op. 2, Harvard Publications in Music 14 (Cambridge, MA: Harvard University Press, 1984).

^[33] Goede-Klinkhamer, “Concerning the Realization,” 83, quoting Giovanni Piccioni, Concerti ecclestiastici à 1-8 voci con il suo basso seguito (Venice, 1610).

^[34] Niedt, The Musical Guide, 34.

^[35] Lodovico Viadana, Cento concerti ecclesiastici (Venice, 1602), trans. F.T. Arnold, in Oliver Strunk, Source Readings in Music History (New York: W.W. Norton, 1950), 422; see also Strunk, Source Readings, rev. ed. Leo Treitler (New York: W.W. Norton, 1998), 620. The editorial annotations are mine.

^[36] Agostino Agazzari, Del sonare sopra ’l basso (Siena, 1607), trans. Strunk, Source Readings, 431; rev. ed., 628.

^[37] Kite-Powell, The Visby, 46.

^[38] Praetorius, Syntagma Musicum, vol. 3, chapter 6 (pp. 124[144]–152); Kite-Powell, translation, 133–55, as well as several additional references to thoroughbass / basso continuo in the index (Kite-Powell, 264).

^[39] Praetorius, Syntagma Musicum, vol. 3, 143; Kite-Powell, translation, 149.

^[40] Refer to par. 1.3–1.5 above.

^[41] Agazzari, Del sonare, trans. Strunk, Source Readings, 426; rev. ed., 623.

^[42] Agazzari, Del sonare, trans. Strunk, Source Readings, 431; rev. ed., 628.

^[43] Agazzari, Del sonare, trans. Strunk, Source Readings, 431; rev. ed., 628.

^[44] Adriano Banchieri, Conclusioni nel suono dell’organo (Bologna, 1609), trans. Piero Weiss and Richard Taruskin, Music in the Western World: A History in Documents (New York: Schirmer Books, 1984), 179.

^[45] Praetorius, Syntagma Musicum, vol. 3, 129; Kite-Powell translation, 137.

^[46] Praetorius’s word here is “Tabulatur” —i.e., “intavolatura” in Bernhardi Strozzi’s Italian (cited by Praetorius)—which, to quote Arnold, “was not really a tablature at all. It was on two staves in ordinary musical notation, the upper staff (for the right hand) consisting of five or six lines, while the lower one had from six to eight. Unlike the German Organ Tablature … the Italian Intavolatura failed to show the progression of individual parts.” F.T. Arnold, The Art of Accompaniment from a Thorough-bass as Practised in the 17th and 18th Centuries (London: Oxford University Press, 1931; reprint Mineola, NY: Dover, 1965, 2003), 14–15 n. 10. Arnold’s discussion of Praetorius’s description of the thoroughbass is found on pp. 93–100. For more on Strozzi’s publication see Praetorius, Syntagma Musicum, vol. 3, 148[128]; Kite-Powell, translation, 136 and n. 61. See also Alexander Silbiger, “Is the Italian Keyboard ‘intavolatura’ a Tablature?,” Recercare 3 (1991): 81–103.

^[47] Praetorius, Syntagma Musicum, vol. 3, 129[149]; Kite-Powell, translation, 137–38.

^[48] Praetorius, Syntagma Musicum, vol. 3, 129[149]; Kite-Powell, translation, 138.

^[49] Praetorius, Syntagma Musicum, vol. 3, 143; Kite-Powell, translation, 149.

^[50] Praetorius, Syntagma Musicum, vol. 3, 144; Kite-Powell, translation, 150.

^[51] Praetorius, Syntagma Musicum, vol. 3, 144; Kite-Powell, translation, 149.

^[52] This tradition carries over from the Middle Ages and Renaissance periods where scores of complete vocal compositions, whether sacred or secular, are extremely rare. Composers would use a cartelle or erasable tablet to sketch all of the voice parts vertically in a quasi-score—as much as would fit on the tablet—and then transfer each part to its partbook or place on the choirbook. They would then erase that portion of the “score” and continue with the next, following the same procedure for the remainder of the composition.

^[53] Praetorius, Syntagma musicum, vol. 3, 144[124]–145[125]; Kite-Powell translation, 134: “It is my humble opinion that the best and most effective use of the thoroughbass is as an artful compendium of the parts; such a thoroughbass is copied out several times, particularly for concertos or [multiple] choirs and is especially beneficial to the music director … and other conductors.… It is then distributed among the organists and lutenists … of each choir, whose part should be specifically designated or underlined in red ink; this is in order to save time, which would otherwise be devoted to the copying of parts. And the director … can retain a copy for himself to have the piece in its entirety before him. This will enable him to be aware not only of a change in the beat to triple meter or something else, but also to assist him in cueing in the various choirs.”

^[54] Nikolaus Gengenbach’s “Musica Nova: Newe Singekunst”: A Commentary, Critical Edition and Translation, ed. and trans. Dale Allen Scott (Ottawa: The Institute of Mediæval Music, 1996), 146–47 and 257–59. The original text: Nicolaus Gengenbach, Musica Nova: Newe Singekunst (Leipzig: Rehefelds and Grossen, 1626; reprint, Kassel: Bärenreiter, 1980).

^[55] Title page of Theatrum Instrumentorum seu Sciagraphia (1620), appended to Michael Praetorius, Syntagma musicum II: De Organographia (Wolfenbüttel: Elias Holwein, 1619/20; reprints, Kassel: Bärenreiter, 1958 [reissued through 1996] and 2001). Digital facsimiles available at https://imslp.org/wiki/Syntagma_Musicum_(Praetorius,_Michael).

^[56] Praetorius, Syntagma Musicum, vol. 3, 170; Kite-Powell, translation, 173 and n. 131.

^[57] Trans. Carol MacClintock, in Readings in the History of Performance (Bloomington: Indiana University Press, 1982), 118. The original text: André Maugars, Response faite a un curieux sur le sentiment de la musique d’Italie: escrite a Rome le premier octobre 1639 (n.p., 1640; reprint, Geneva: Minkoff, 1993).

^[58] My translation. Andreas Werckmeister, Musicalische Paradoxal-Discourse (Quedlinburg: Calvisius, 1707), 72; digitized on Google Books, https://www.google.com/books/edition/Musicalische_Paradoxal_Discourse_Oder_Un/s2HLfNzq_hkC?hl: “… wie ich dann unterchiedliche Directores gekennet/ die ihre Partituren in teutsche Tabulatur gesetzet/ und daraus gesungen/ und dirigiret. Ich kan auch noch mit des vornehmen Grimmii eigener Hand bezeugen/ daß Er aus der deutschen Tabulatur, oder Buchstaben dirigiret hat.” It should be noted that Grimm’s dates (1592/93–1637) closely coincide with dates found in the Levoča tablatures and that the comments in Werckmeister’s treatise of 1707 appeared 70 years after Grimm’s death. Johnson’s remark appears in Vocal Compositions, 126. For a complete English translation of Werckmeister with commentary, see Andreas Werckmeister’s Musicalische Paradoxal-Discourse: A Well-Tempered Universe, trans. Dietrich Bartel (Lanham, MD: Lexington Books, 2018).

^[59] Trans. Johnson, Vocal Compositions, 127.

^[60] Hulková, Das Musikleben, 89: “Nur soviel ist bekannt, daß am Ende des 19. Jahrhunderts, ein gewisser L. Weszter … begann die erwähnte Bibliothek zu katalogisieren und hat gleichzeitig auch eine große Sammeltätigkeit auf der ganzen Zips entfaltet.” Kalinayová-Bartová, “Music by the Gabrielis,” 96: “The collection … was assembled in the Levoča Lutheran church in the nineteenth century.”

^[61] Audio recording: “Dixit Dominus a12,” in Hieronymus Praetorius: Motets in 8, 10, 12, 16 & 20 Parts, Alamire and His Majestys Sagbutts & Cornetts, directed by David Skinner, Inventa INV001, 2019, compact disc; uploaded to YouTube in May 2019, https://www.youtube.com/watch?v=pnDdsuBRudQ.

^[62] Audio recording: Wohl dem, der den Herren furchtet, SWV 30, in Heinrich Schütz: Psalms of David, Dresden Chamber Choir and Dresden Baroque Orchestra, conducted by Hans-Christoph Rademann, Carus 83.255, 2013, compact disc; uploaded to YouTube by Naxos of America in February 2015 (excerpt at 1:42–2:33), https://www.youtube.com/watch?v=IPqgA1wj8P8.

^[63] Video recording: Giovanni Valentini, “Echo a 3 in g,” ACRONYM Live: Elliot Figg, organ; uploaded to YouTube by ACRONYM ensemble in September 2014 (echo begins at 1:03), https://www.youtube.com/watch?v=ATyhl6TRr3U.

^[64] Dating and scribal identification by Michael Maul and Peter Wollny, eds., Weimarer Orgeltabulatur: Die frühesten Notenhandschriften Johann Sebastian Bachs sowie Abschriften seines Schülers Johann Martin Schubart, Documenta musicologica BA 5248 (Kassel: Bärenreiter, 2007), xxiv.

^[65] Praetorius, Syntagma Musicum, vol. 3, 138–39; Kite-Powell, translation, 145. Praetorius refers to Viadana’s twelve rules for basso continuo on pp. 143–45 of translation.

^[66] Modern edition: Giovanni Gabrieli, Virtute magna operatus est a12, ed. Lewis Jones, in the Choral Public Domain Library, posted September 2015, http://www1.cpdl.org/wiki/index.php/Virtute_magna_operatus_est_a_12_(Giovanni_Gabrieli).

^[67] Modern edition: Samuel Scheidt, Angelus ad pastores, SSWV 77, ed. Daniel Van Gilst, in IMSLP Petrucci Music Library, 2016, https://imslp.org/wiki/Angelus_ad Pastores,_SSWV_77_(Scheidt,_Samuel). Audio recording: Samuel Scheidt, “Angelus ad pastores ait,” in A Marian Christmas II, St. Martin’s Chamber Choir, directed by Timothy J. Krueger, Cygnus, 2007, compact disc; uploaded to YouTube by The Orchard Enterprises, February 2017, https://www.youtube.com/watch?v=kgr8kUSCZvY.

^[68] Additional recommended secondary literature (chronological order): Imogene Horsley, “Full and Short Scores in the Accompaniment of Italian Church Music in the Early Baroque,” Journal of the American Musicological Society 30, no. 3 (1977): 466–99; Cleveland Johnson, “A Keyboard Diminution Manual in Bártfa Ms. 27: Keyboard Figuration in the Time of Scheidt,” in Church, Stage, and Studio: Music and its Contexts in Seventeenth-Century Germany, ed. Paul Walker (Ann Arbor: UMI Research Press, 1990), 279–347; Robert Hill, “Tablature versus Staff Notation: Or, Why Did the Young J.S. Bach Compose in Tablature?” in Church, Stage, and Studio, ed. Walker, 349–60; John Butt, Music Education and the Art of Performance in the German Baroque (Cambridge: Cambridge University Press, 1994); Peter Király, “Wenig beachtete und unbekannte Quellen für Tasteninstrumente aus Oberungarn und Siebenbtirgen,” Slovenskà hudba 22 (1996): 375–85; Cleveland Johnson, “In the Trenches with Johann and Caspar Plotz: A Rediscovered Gebrauchstabulatur from the Scheidt Circle,” 2001, independent article hosted by DePauw University website, http://acad.depauw.edu/~cjohnson/PLOTZ/; Ágnes Papp, “Orgeltabulaturen des 17. Jahrhunderts aus Ungarn: Intavolierung, Reduktion, Notationsarten,” Studia Musicologica Academiæ Scientiarum Hungaricæ 46, nos. 3–4 (2005): 441–69; Marko Motnik, “Deutsche Tabulatur: gebreuchlich oder verdrießlich?” Muzikološki Zbornik / Musicological Annual 47 no. 2 (2011): 125–37; Augusta Campagne, Simone Verovio: Music Printing, Intabulation and Basso continuo in Rome around 1600, Wiener Veröffentlichungen Zur Musikgeschichte 13 (Vienna: Böhlau Verlag, 2018), https://www.academia.edu/44364195/; Jeffery Kite-Powell, “Michael Praetorius’s Organ Works: The Notation Conundrum Revisited,” typescript, https://www.academia.edu/44703598/, abridged version published in Organists’ Review (March 2021): 25–31.