Micro-X-Ray Fluorescence and the Old Masters: Non-destructive in situ characterisation of the varnish of historical Low Countries stringed musical instruments

In recent years, a growing attention has been addressed to the study of the varnish from early musical instruments. The surfaces of nine historical Low Countries stringed musical instruments from the collection of the "Musical Instruments Museum” in Brussels were non-destructively analysed by in situ micro-X-Ray Fluorescence spectroscopy in dispersive mode. It was found that the main pigments dispersed in the varnish were iron- and manganese-based earths. The presence of a chromium-based pigment in one of the analysed instruments makes it appreciably different from the others. Other findings were discussed and compared with previously published results. The collection of such information plays a relevant role in the recovery of the applied formulations that is an interesting issue for conservators, luthiers and art historian

Evolving Scale Conception and Directed Progressions in the Josquin Era

This article examines the evolution of a contrapuntal sequence, called "directed progression" by Sarah Fuller, in the Josquin era. It suggests that the evolution of this progression between the fourteenth and sixteenth centuries is linked to changes in the tuning habits of keyboard instruments. The focus of this study is not Josquin himself, but a contribution to the history of contrapuntal thinking, of which he is an outstanding representative