Abstract
This dissertation is an analysis of Giovanni Antonio Terzi's lute intabulations contained in his two Venetian lute books of 1593 and 1599. These works are discussed in relation to other lute intabulations in sixteenth-century Italian prints and manuscripts. The dissertation discusses the origins of lute intabulations, its philosophical background and performance practice. Terzi's style of ornamentation in comparison with his contemporaries is central to the discussion. The musica ficta in the tablatures is analysed and discussed for its relevance to interpretation in the vocal models. Terzi’s fantasia style is compared with his intabulation style, and an attempt is made to interpret the meaning of Terzi's performance indication "in concerto". The second volume reviews modern transcription practices and includes 45 transcriptions of intabulations and fantasias by Terzi and his contemporaries.