Strumming in the void: a new look at the guitar and rhythm in early 17th-century canzonettas

The study examines the role of the five-course guitar in early 17th-century canzonettas, arguing against the prevailing notion that rhythmically imprecise notation implies a rhythmically free performance. It suggests that consistent rhythmic patterns were prevalent in guitar accompaniment, and these patterns continued to influence performance practices into the mid-17th century, contrary to the belief that they were overshadowed by the emerging harmonic structures of the 18th century.