It is on display at the International museum and library of music in Bologna. After a short time in Rome, Vicentino returned to Ferrara, and later moved to Siena. In 1563, he became maestro di cappella at Vicenza Cathedral, thus returning to his home city, but only briefly, for he accepted a position in Milan in 1565. Around 1570, he had some connection with the Bavarian court in Munich, though he may never have gone there. He died in Milan during the plague of 1575–1576, though his exact date of death is not known. Works While Vicentino was known as a composer, and wrote two books of madrigals and motets in a harmonically sophisticated style, it was his work as a music theorist that gained him renown. In the 1550s, in Italy, there was a surge of interest in chromatic composition, some of which was part of the movement known as musica reservata, and some of which was motivated by research into ancient Greek music, including modes and genera. Composers such as Cipriano de Rore, Orlande de Lassus and others wrote music which was impossible to sing in tune without having a system for adjusting the pitch of chromatic intervals in some way. Several theorists attacked the problem, including Vicentino. In 1555, he published his most famous work, L'antica musica ridotta alla moderna prattica (ancient music adapted to modern practice), in which he fully explained his ideas linking ancient Greek musical theory and practice with contemporary works. In this work, he expanded and justified many of the ideas which he first brought up in his debate with Lusitano. Whether or not Lusitano ever attempted to refute Vicentino's expanded version is not known; however, Vicentino's book was influential with the group of madrigalists working in Ferrara in the next two decades, including Luzzasco Luzzaschi and Carlo Gesualdo. Another area in which Vicentino did original work was musical dynamics. He was one of the first theorists, and perhaps the first, to mention volume as an expressive parameter. In L'antica musica ridotta alla moderna prattica, he mentioned that the strength of singing must respect carefully the text and passage being sung. Vicentino's most famous invention was the archicembalo, a keyboard containing 31 keys to the octave. Using this keyboard, it was possible to play acoustically satisfactory intervals in any key, and therefore some of the recently composed music in a chromatic style, which