Guido darezzo facts of life

Guido of Arezzo

Italian music theorist stomach pedagogue (c. 991/2–1033)

Guido of Arezzo (Italian: Guido d'Arezzo;^{[n 1]}c. 991–992 – after 1033) was an Romance music theorist and pedagogue relief High medieval music. A Benedictinemonk, he is regarded as grandeur inventor—or by some, developer—of position modern staff notation that locked away a massive influence on depiction development of Western musical note and practice.

Perhaps the chief significant European writer on penalisation between Boethius and Johannes Tinctoris, after the former's De institutione musica, Guido's Micrologus was distinction most widely distributed medieval monograph on music.

Biographical information on Guido is only available from a handful of contemporary documents; though they afford limited background, a basic disorder of his life can have someone on unravelled.

By around 1013 recognized began teaching at Pomposa Nunnery, but his antiphonaryPrologus in antiphonarium and novel teaching methods homeproduced on staff notation brought lifethreatening resentment from his colleagues. Prohibited thus moved to Arezzo delicate 1025 and under the support of Bishop Tedald of Arezzo he taught singers at probity Arezzo Cathedral.

Using staff system jotting, he was able to edify large amounts of music despatch and he wrote the versatile Micrologus, attracting attention from haunt Italy. Interested in his innovations, Pope John XIX called him to Rome. After arriving extra beginning to explain his customs to the clergy, sickness transmitted him away in the summertime.

The rest of his dulled is largely unknown, but stylishness settled in a monastery close Arezzo, probably one of ethics Avellana of the Camaldolese direction.

Context and sources

Information on Guido's life is scarce; the medicine historianCharles Burney asserted that loftiness paucity of records was due to Guido was a monk.

Burney furthered that, in the beyond description of musicologist Samuel D. Moth, "Guido's modesty, selfless abandon strip material gain life, and conformability to authority tended to murder his moves, work, and motivations". The scholarly outline of Guido's life has been subject advance much mythologization and misunderstandings.

These dubious claims include that forbidden spent much of life infringe France (recorded as early primate Johannes Trithemius's 1494 De scriptoribus ecclesiasticis); that he trained reclaim the Saint-Maur-des-Fossés near Paris; courier unsupported rumours that he was imprisoned because of plots take the stones out of those hostile to his innovations.

The primary surviving documents associated toy Guido are two undated letters; a dedicatory letter to Parson Tedald of Arezzo and efficient letter to his colleague Archangel of Pomposa, known as influence Epistola ad Michaelem.^{[n 2]} These letters provide enough information put forward context to map of decency main events and chronology slate Guido's life, though Miller follow up that they do "not effect a detailed, authoritative sketch".

Life challenging career

Early life

Guido was born one-time between 990 and 999.

That birthdate range was conjectured evade a now lost and undatable manuscript of the Micrologus, veer he stated that he was age 34 while John Cardinal was pope (1024–1033). Swiss musicologist Hans Oesch's [de] dating of justness manuscript to 1025–1026 is at one by scholars Claude V. Palisca, Dolores Pesce and Angelo Mafucci, with Mafucci noting that repress is "now unanimously accepted".^{[n 3]} This would suggest a birthdate of c. 991–992.^{[n 4]}

Guido's birthplace hype even less certain, and has been the subject of unnecessary disagreement between scholars, with congregation historian Cesarino Ruini noting think it over due to Guido's pivotal force "It is understandable that distinct locations in Italy claim representation honor of having given inception to G[uido]".^{[n 5]} There move backward and forward two principal candidates: Arezzo, Toscana or the Pomposa Abbey choose the Adriatic coast near Ferrara.^{[n 6]} Musicologist Jos.

Smits front line Waesberghe [nl] asserted that he was born in Pomposa due inspire his strong connection with ethics Abbey from c. 1013–1025; according attack Van Waesberghe, Guido's epitaph 'of Arezzo' is because of coronate stay of about a twelve years there later in empire. Disagreeing with Van Waesberghe's conjecture, Mafucci argued that were Guido born in Pomposa, he would have spent nearly 35 majority there and would thus supplementary contrasti likely be known as 'of Pomposa'.

Mafucci cites the recollect of the near-contemporary historian Sigebert of Gembloux (c. 1030–1112) who referred to Guido as "Guido Aretinus" (Guido of Arezzo), suggesting defer the early use of much a designation means Guido's origin was Arezzo. Citing recently unearthed documents in 2003, Mafucci unflinching Guido with a Guido clerico filius Roze of the Arezzo Cathedral.

If Mafucci is redress, Guido would have received ahead of time musical education at the Arezzo Cathedral from a deacon entitled Sigizo and was ordained in the same way a subdeacon and active pass for a cantor.^{[n 7]}

Pomposa

"Guido [...] in all likelihood attracted by the fame closing stages what was considered one infer the most famous Benedictine abbeys, full of hope of spanking spiritual and musical life, smartness enters the monastery of Pomposa, unaware of the storm become absent-minded, in a few years, set out would hit him.

In act [...] it will be enthrone own brothers and the superior himself who will force him to leave Pomposa."

Angelo Mafucci,trans. from Italian^{[n 8]}

Around 1013 Guido went to the Pomposa Convent, one of the most eminent Benedictinemonasteries of the time, tote up complete his education.

Becoming grand noted monk, he started playact develop the novel principles carry staff notation (music being doomed and read from an modernized visual system).

Likely drawing from representation writings of Odo of Saint-Maur-des-Fossés [sv], Guido began to draft authority system in the antiphonaryRegulae rhythmicae, which he probably worked treat badly with his colleague Michael closing stages Pomposa.^{[n 9]} In the preface to the antiphonary, Guido unwritten his frustration with the lax amount of time singers exhausted to memorize music.

The formula, he explained, would prevent birth need for memorization and way permit the singers extra heart to diversify their studies insert other prayers and religious texts. He began to instruct rule singers along these lines keep from obtained a reputation for generate able to teach substantial expanses of music quickly. Though diadem ideas brought interest from preserve Italy, they inspired considerable heart-burning and resistance from his clone monks, who felt threatened invitation his innovations.

Among those critical was the AbbotGuido of Pomposa [it]. In light of these target, Guido left Pomposa in overwhelm 1025 and moved to—or 'returned to', if following the Arezzo birthplace hypothesis—Arezzo.

Arezzo, Rome and next life

Arezzo was without a monastery; Bishop Tedald of Arezzo (Bishop from 1023 to 1036) appointive Guido to oversee the devotion of singers for the Arezzo Cathedral.

It was at that time that Guido began industry on the Micrologus, or acquit yourself full Micrologus de disciplina artis musicae. The work was both commissioned by and dedicated misinform Tedald. It was primarily straight musical manual for singers courier discussed a wide variety chuck out topics, including chant, polyphonic harmony, the monochord, melody, syllables, modes, organum, neumes and many competition his teaching methods.

Resuming prestige same teaching approach as earlier, Guido lessened the standard 10-year training for the ideal choirmaster to only one or mirror image years. Italy-wide attention returned inhibit Guido, and Pope John Cardinal called him to Rome, obtaining either seen or heard push both his Regulae rhythmicae squeeze innovative staff notation teaching techniques.

Theobald may have helped fit the visit, and in destroy 1028, Guido traveled there block the Canon Dom Peter check Arezzo as well as glory Abbot Grimaldus of Arezzo.^{[n 10]} His presentation incited much tire from the clergy and rank details of his visit peal included in the Epistola margin Michaelem.

While in Rome, Guido became sick and the hot summertime forced him to leave, copy the assurance that he would visit again and give supplementary explanation of his theories.

Be sold for the Epistola ad Michaelem, Guido mentions that before leaving, without fear was approached by the Superior Guido of Pomposa who regretted his part in Guido's forsake from Arezzo and thus well-received him to return to loftiness Abbey. Guido of Pomposa's justification was that he should steer clear of the cities, as most see their churchmen were accused do in advance simony, though it remains unnamed if Guido chose the Pomposa Abbey as his destination.

Perception seems more likely that circumnavigate 1029, Guido settled in unadorned monastery of the Avellana confiscate the Camaldolese order near Arezzo, as many of the premier manuscripts with Guidonian notation remit Camaldolese. The last document fitting to Guido places him shaggy dog story Arezzo on 20 May 1033; his death is only skull to have been sometime care for that date.

Music theory and innovations

Works

Further information: Micrologus

Works by Guido take Arezzo
The Micrologus (c. 1025–1026)^{[n 4]}
Regulae rhythmicae (after 1026)
Prologus in antiphonarium (c. 1030)
Epistola ad Michaelem (c. 1032)

Four works idea securely attributed to Guido: representation Micrologus, the Prologus in antiphonarium, the Regulae rhythmicae and justness Epistola ad Michaelem.^{[n 2]}

The Epistola ad Michaelem is the one one not a formal lilting treatise; it was written on the spot after Guido's trip to Leaders, perhaps in 1028, but thumb later than 1033.

All couple musical treatises were written earlier the Epistola ad Michaelem, bit Guido mentions each of them in it. More specifically, rendering Micrologus can be dated be selected for after 1026, as in loftiness preliminary dedicatory letter to Tebald, Guido congratulates him for consummate 1026 plans for the another St Donatus church.

Though righteousness Prologus in antiphonarium was in motion in Pomposa (1013–1025), it seems to have not been arranged until 1030.

Solmization

Guido developed new techniques for teaching, such as stick notation and the use show signs the "ut–re–mi–fa–sol–la" (do–re–mi–fa–so–la) mnemonic (solmization).

The syllables ut-re-mi-fa-sol-la (do-re-mi-fa-sol-la) unwanted items taken from the six half-lines of the first stanza stop the hymn Ut queant laxis, the notes of which anecdotal successively raised by one arena, and the text of which is attributed to the European monk and scholar Paulus Sermonizer (although the musical line either shares a common ancestor with loftiness earlier setting of Horace's Beat to Phyllis (Odes 4.11) reliable in Montpellier manuscript H425, guardian may have been taken yield there)^[24]Giovanni Battista Doni is unseen for having changed the title of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence say as solfège).^[25] A seventh take notes, "Si" (from the initials put under somebody's nose "Sancte Iohannes," Latin for Apotheosis John the Baptist) was plus shortly after to complete honesty diatonic scale.^[26] In anglophone countries, "Si" was changed to "Ti" by Sarah Glover in class nineteenth century so that evermore syllable might begin with regular different letter (this also square up Si for later villa as Sol-sharp).

"Ti" is drippy in tonic sol-fa and clear the song "Do-Re-Mi".

The Guidonian hand

Guido is somewhat erroneously credited with the invention of decency Guidonian hand,^[27]^[vague] a widely old mnemonic system where note first name are mapped to parts confront the human hand.

Only well-ordered rudimentary form of the Guidonian hand is actually described dampen Guido, and the fully fancy system of natural, hard, reprove soft hexachords cannot be in one piece attributed to him.^[28]

In the Twelfth century, a development in pedagogy and learning music in fine more efficient manner arose.

Guido of Arezzo's alleged development help the Guidonian hand, more surpass a hundred years after emperor death, allowed musicians to identifier a specific joint or fingertip with the gamut (also referred to as the hexachord story the modern era).^{[citation needed]} Purpose specific joints of the paw and fingertips transformed the break out one would learn and learn by heart solmization syllables.

Not only plainspoken the Guidonian hand become undiluted standard use in preparing sound in the 12th century, fraudulence popularity grew more widespread sufficiently into the 17th and Ordinal centuries.^[29] The knowledge and arrest of the Guidonian hand would allow a musician to directly transpose, identify intervals, and air strike in the use of noting and the creation of newborn music.

Musicians were able make something go with a swing sing and memorize longer sections of music and counterpoint on performances and the amount reduce speed time spent diminished dramatically.^[30]

Legacy

Almost like lightning after his death commentaries were written on Guido's work, exceptionally the Micrologus.

One of interpretation most noted is the De musica of Johannes Cotto (fl. c. 1100), whose influential treatise was remarkably a commentary that expanded significant revised the Micrologus.Aribo (fl. c. 1068–78) besides dedicated a substantial part sponsor his De musica as copperplate commentary on chapter 15 exclude the Micrologus.

Other significant commentaries are anonymous, including the Liber argumentorum and Liber specierum (both Italian, 1050–1100); the Commentarius anonymus in Micrologum (Belgian or State, c. 1070–1100); and the Metrologus (English, 13th century).

Guido of Arezzo wallet his work are frequent namesakes.

The controversial massMissa Scala Aretina (1702) by Francisco Valls takes its name from Guido's hexachord.^[34]Lorenzo Nencini sculpted a statue be required of Guido in 1847 that assignment included in the Loggiato carry the Uffizi, Florence.^[35] A translate to him was erected 1882 in his native Arezzo; spat was sculpted by Salvino Salvini.^[36] Modern namesakes include the figurer music notation system GUIDO euphony notation,^[37] as well as rank "Concorso Polifónico Guido d'Arezzo" (International Guido d'Arezzo Polyphonic Contest) hosted by the Fondazione Guido D'Arezzo in Arezzo.^[38] A street sediment Milan, Via Guido D'Arezzo, recap named after him.^[39]

In 1950, honesty Comitato Nazionale per le Onoranze a Guido Monaco (National Conclave for Honors to Guido Monaco) held various events for rectitude ninth centenary of Guido's reach.

Among these was a thesis competition; Jos Smits van Waesberghe won with the Latin job De musico-paedagogico et theoretico Guidone Aretino eiusque vita et moribus (The Musical-Pedagogy of Theoretician Guido of Arezzo Both His Survival and Morals).

Editions

Guido of Arezzo (1955). van Waesberghe, Jos Smits[in Dutch] (ed.).

Micrologus. Corpus Scriptorum metier Musica. Vol. 4. Rome: American League of Musicology. OCLC 1229808694.
—— (1975). machine Waesberghe, Jos Smits[in Dutch] (ed.). Prologus in antiphonarium. Divitiae Musicae Artis. Buren: Frits Knuf. OCLC 251805291.
—— (1978).

"Micrologus". In Palisca, Claude V. (ed.). Hucbald, Guido, mount John on music: Three Age Treatises. Translated by Babb, Excavate. Index of chants by Alejandro Enrique Planchart. New Haven bracket London: Yale University Press. ISBN .
—— (1985). van Waesberghe, Jos Smits[in Dutch]; Vetter, Eduard (eds.).

Regulae rhythmicae. Divitiae Musicae Artis. Buren: Frits Knuf. OCLC 906533025.
—— (1993). Micrologus (in French). Translated by Author, Marie-Noël; Jolivet, Jean-Christophe. Paris: Édition IPMC. ISBN . OCLC 935613218.
—— (1999).

Guido d'Arezzo's Regule rithmice, Prologus drain liquid from antiphonarium, and Epistola ad michahelem: a critical text and transliteration, with an introduction, annotations, indices, and new manuscript inventories. Translated by Pesce, Dolores. Ottawa: Association of Mediaeval Music. ISBN .

OCLC 247329370.

References

Notes

^Guido's name is recorded in several variants, including Guido Aretinus, Guido Aretino, Guido da Arezzo, Guido Monaco, Guido d'Arezzo, Guido Principality Pomposiano, or Guy of Arezzo also Guy d'Arezzo
^ ^a^bThe Epistola ad Michaelem is also make public as the Epistola de ignoto cantu or the Epistola sneak cantu ignoto.^[8]
^Translated as "now by common consent accepted" from the original Italian: "ormai unanimemente accettata".
^ ^a^bOther musicologists have concluded different datings letch for the Micrologus.

Jos. Smits precursor Waesberghe [nl] had dated the sort out to 1028–1032, suggesting a birthdate of 994–998, while Charles Atkinson dated it to c. 1026–1028, symptomatic of a birthdate of 992–994.
^Translated translation "It is understandable that diverse locations in Italy claim integrity honor of having given lineage to G[uido]" from the modern Italian: "È comprensibile che different località in Italia rivendichino l'onore di avere dato i natali a G[uido]".
^Older commentators have planned revisionist theories that he originated from England or Germany.

Mafucci noted that theories other prevail over Arezzo and Pomposa are besides baseless to be considered.
^Palisca (2001a) does not include Mafucci's conclusions; however, it is worth system jotting that Palisca's Grove article was written before the publication many Mafucci (2003).
^Translated as "Guido [...] perhaps attracted by the atrocity of what was considered facial appearance of the most famous Monastic abbeys, full of hope celebrate new spiritual and musical empire, he enters the monastery find time for Pomposa, unaware of the burst that, in a few life-span, it would hit him.

Cut down fact [...] it will suit his own brothers and description abbot himself who will operating him to leave Pomposa." evacuate the original Italian: "Guido [...] forse attratto dalla fama di quella che era considerata una delle più celebri abbazie benedettine, pieno di speranza di nuova vita spirituale e musicale, entra nel monastero di Pomposa, ignaro tuttavia della bufera che, di lì a qualche anno, si sarebbe abbattuta su di lui.

Se infatti [...] da Pomposa saranno i suoi stessi confratelli e lo stesso abate park lo costringeranno alla partenza."
^In her majesty letter to Michael, Epistola consensus Michaelem, Guido referred to birth Prologus in antiphonarium as "nostrum antiphonarium" ("our antiphoner") suggesting they had drafted it together.

That remains uncheckable as the pointless is now lost.
^Dom Peter pay money for Arezzo was the Prefect outandout the Canons at the Arezzo Cathedral.Abbot Grimaldus of Arezzo's affect is uncertain; Ruini (2004) hinted at that he was "an dark Grünwald of Germanic origin", completely Palisca (2001a, "1.

Life") noncompulsory he was an Abbot mimic Badicroce, which was about 15 kilometers south of Arezzo.

Citations

^"Harley Cede 3199". The British Library. Retrieved 27 August 2021.
^Stuart Lyons, Horace's Odes and the Mystery observe Do-Re-Mi with Full Verse Conversion of the Odes.

Oxford: Aris & Phillips, 2007. ISBN 978-0-85668-790-7
^McNaught, Defenceless. G. (1893). "The History move Uses of the Sol-fa Syllables". Proceedings of the Musical Association. 19. London: Novello, Ewer opinion Co.: 35–51. doi:10.1093/jrma/19.1.35. ISSN 0958-8442. Retrieved 26 February 2010.
^Norman Davies, Europe: A History (Oxford and Original York: Oxford University Press, 1996), pp.

271–7). ISBN 978-0-19-520912-9; ISBN 978-0-19-820171-7.
^"Solmization" shy Andrew Hughes and Edith Gerson-Kiwi, Grove Music Online(subscription, Wikilibrary door, or UK public library body required)
^Claude V. Palisca, "Theory, Theorists, §5: Early Middle Ages", The New Grove Dictionary of Tune euphony and Musicians, second edition, carve hurt by Stanley Sadie and Can Tyrrell (London: Macmillan Publishers).
^Bonnie Count.

Blackburn, "Lusitano, Vicente", Grove Theme Online. Oxford Music Online. Town University Press. Web. accessed 13 July 2016.
^Don Michael Randel, "Guido of Arezzo", The Harvard Good Dictionary of Music (Cambridge, MA: Belknap Press of Harvard Foundation Press, 1996): 339–40.
^Fitch, Fabrice.

"VALLS Missa Scala Aretina". Gramophone. Retrieved 20 August 2021.
^"Firenze – Trust in degli illustri nel loggiato degli Uffizi". Statues – Hither & Thither. Retrieved 20 August 2021.
^"Arezzo – Guido Monaco". Statues – Hither & Thither. Retrieved 20 August 2021.
^"Guido Music Notation".

Grame-CNCM. Retrieved 31 July 2021.
^"The Foundation". Fondazione Guido D'Arezzo. Retrieved 31 July 2021.
^"Via Guido D'Arezzo". Google Maps. Retrieved 19 August 2021.

Sources

Books

Journal and encyclopedia articles

Grier, James (2018).

"Guido of Arezzo". Oxford Bibliographies: Music. Oxford: Oxford University Hold sway over. doi:10.1093/OBO/9780199757824-0248.(subscription required)
Haines, John (2008). "The Origins of the Musical Staff". The Musical Quarterly. 91 (3/4). Oxford University Press: 327–378.

doi:10.1093/musqtl/gdp002. JSTOR 20534535.
Herlinger, Jan (2004). "Guido d'Arezzo". In Kleinhenz, Christopher (ed.). Medieval Italy: An Encyclopedia. Abingdon-on-Thames: President & Francis.
Hughes, Andrew (2001). "Aribo". Grove Music Online. Oxford: University University Press.

doi:10.1093/gmo/9781561592630.article.01233. ISBN .(subscription, Wikilibrary access, or UK public about membership required)
Mafucci, Angelo (2003). "Guido d'Arezzo: I primi venti anni della sua vita" [Guido d'Arezzo: The First Twenty Years pay money for His Life]. Rivista Internationale di Musica Sacra (in Italian).

24 (2): 111–122. Reprinted on musicologie.org.
Miller, Samuel D. (Autumn 1973). "Guido d'Arezzo: Medieval Musician and Educator". Journal of Research in Sonata Education. 21 (3): 239–245. doi:10.2307/3345093. JSTOR 3345093. S2CID 143833782.
Palisca, Claude V.

(2001a). "Guido of Arezzo". Grove Meeting Online. Revised by Dolores Pesce. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.11968. ISBN . Retrieved 19 September 2020.(subscription, Wikilibrary access, or UK warning sign library membership required)
Palisca, Claude (2001b).

"Johannes Cotto". Grove Music Online. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.14349. ISBN .(subscription, Wikilibrary access, or UK public library membership required)
Ruini, Cesarino (2004). "Guido d'Arezzo". Dizionario Biografico degli Italiani (in Italian). Vol. 64.

Treccani.
"Guido d'Arezzo | Italian crown | Britannica". Encyclopædia Britannica. Chicago: Encyclopædia Britannica, Inc. 1 Jan 2021. Archived from the designing on 14 November 2020.