Little is known of Francesco Spinacino and Joan Ambrosio Dalza, the authors of Ottaviano Petrucci’s tablatures which appeared in 1507 and 1508 in Venice.

From an instrumental point of view, Petrucci’s collections demonstrate complete mastery of the technical resources of the lute, presenting many virtuoso pieces. They each contain musical material that is different in concept and compositional style. Spinacino favours the vocal production of the Franco-flemish School: Josquin, Brumel, Ockeghem, Ghiselin...transcribing for lute both chansons and sacred motets. There are also 27 ricercare which are probably meant to be related to the vocal pieces and which could be used as preludes, interludes or postludes.

Dalza, on the other hand, addresses himself to the dance world, inserting mostly dances based in folk traditions. Laid out in rhythmically contrasting movements (pavana, saltarello and piva), such dances make up real suites.

Through the works of Spinacino and Dalza, all the different kinds of pieces in fashion at that time are represented in these two volumes which follow two radically different paths. The one illustrates the world of courtly music monopolised by northern European composers who were, however, employed at the Italian courts. The other gives voice to music with moods inspired by both courtly and folk traditions, intent on finding an opening within the Flemish tradition through which Italian music can once more come to the forefront.