Vincenzo Galilei was the father of Galileo Galilei and, the father of Michelangelo who played the lute. Vincenzo was a lutenist as well which probably brought him in to favor with his patron Bardi. Bardi was instrumental in bringing Galilei to the tutelage of Zarlino for theory. He was fortunate enough to have the patronage of Corsi, Duke Albrecht V of Bavaria and Zefirini as well. Galilei was a prominent musical theorist who was the first to demonstrate that the string tuning ratios of the ancients (i.e. Pythagoras) were not accurate unless under equal conditions. The ratios were contingent not only on the length of the string but the tension which it was under as well as the volumes of the air (i.e. atmospheric pressures). His earliest theoretical work was "Fronimo" in which he made a number of points. For example he deplored singers who were merely seeking novelty; he defended the lute against the organ for accompaniment as it was more expressive; he discussed the proper intablature for the lute and promised to transcribe numerous pieces to teach this important fact. Galilei also advocated songs which used a homophonic texture and lute accompaniment, and, that instruments -- with a penchant towards strings -- could only overcome the tuning problems of the times with proper temperament. Accordingly, he composed a set of songs in all 24 keys trying not only to force the issue but demonstrate it as well. In the content of another treatise, "Dialogo della musica antica et della moderna," Galilei advocated new theories concerning tuning and modes, detailed a critique of contrapuntal music based on the monodic style of Greeks (as ancient texts were probably sung from beginning to end), and explored the concept that the register a performer sings in is dependent upon the humor that the music was supposed to depict. Later he also wrote "two volumes on polyphony" arguing that the use of consonances and disonances were misrepresented and should be employed differently. Regardless, the subordination of the text should not occur with the use of counterpoint or imitation. Dissonances were acceptable as long as they did not detract from the voice or the text. The music should always continue to move in an uniterrupted, smooth fashion. ~ Keith Johnson, Rovi