Guido darezzo biography brevena

Guido of Arezzo

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

Guido of Arezzo (Italian: Guido d'Arezzo;^{[n 1]}c. 991–992 – after 1033) was an European music theorist and pedagogue always High medieval music. A Benedictinemonk, he is regarded as decency inventor—or by some, developer—of picture modern staff notation that esoteric a massive influence on righteousness development of Western musical record and practice.

Perhaps the uppermost significant European writer on sonata between Boethius and Johannes Tinctoris, after the former's De institutione musica, Guido's Micrologus was nobleness most widely distributed medieval pamphlet on music.

Biographical information on Guido is only available from link contemporary documents; though they explore limited background, a basic mayhem of his life can designate unravelled.

By around 1013 sand began teaching at Pomposa Religious house, but his antiphonaryPrologus in antiphonarium and novel teaching methods homegrown on staff notation brought earnest resentment from his colleagues. Noteworthy thus moved to Arezzo bond 1025 and under the umbrella of Bishop Tedald of Arezzo he taught singers at high-mindedness Arezzo Cathedral.

Using staff note, he was able to demonstrate large amounts of music bulletin and he wrote the versatile Micrologus, attracting attention from have a lark Italy. Interested in his innovations, Pope John XIX called him to Rome. After arriving snowball beginning to explain his adjustments to the clergy, sickness stalemate him away in the season.

The rest of his ethos is largely unknown, but sand settled in a monastery at hand Arezzo, probably one of dignity Avellana of the Camaldolese train.

Context and sources

Information on Guido's life is scarce; the descant historianCharles Burney asserted that nobility paucity of records was owing to Guido was a monk.

Burney furthered that, in the word of musicologist Samuel D. Author, "Guido's modesty, selfless abandon hold up material gain life, and deference to authority tended to hide his moves, work, and motivations". The scholarly outline of Guido's life has been subject elect much mythologization and misunderstandings. These dubious claims include that crystal-clear spent much of life send out France (recorded as early little Johannes Trithemius's 1494 De scriptoribus ecclesiasticis); that he trained pride the Saint-Maur-des-Fossés near Paris; service unsupported rumours that he was imprisoned because of plots escaping those hostile to his innovations.

The primary surviving documents associated buffed Guido are two undated letters; a dedicatory letter to Father Tedald of Arezzo and simple letter to his colleague Archangel of Pomposa, known as dignity Epistola ad Michaelem.^{[n 2]} These letters provide enough information viewpoint context to map of grandeur main events and chronology signify Guido's life, though Miller keep information that they do "not let a detailed, authoritative sketch".

Life bracket career

Early life

Guido was born erstwhile between 990 and 999.

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

Guido's birthplace bash even less certain, and has been the subject of all the more disagreement between scholars, with air historian Cesarino Ruini noting zigzag due to Guido's pivotal emphasis "It is understandable that a handful locations in Italy claim honourableness honor of having given commencement to G[uido]".^{[n 5]} There blank two principal candidates: Arezzo, Toscana or the Pomposa Abbey bring up the Adriatic coast near Ferrara.^{[n 6]} Musicologist Jos.

Smits car Waesberghe [nl] asserted that he was born in Pomposa due give a warning his strong connection with justness Abbey from c. 1013–1025; according email Van Waesberghe, Guido's epitaph 'of Arezzo' is because of culminate stay of about a 12 years there later in sure. Disagreeing with Van Waesberghe's philosophy, Mafucci argued that were Guido born in Pomposa, he would have spent nearly 35 period there and would thus spare likely be known as 'of Pomposa'.

Mafucci cites the recall of the near-contemporary historian Sigebert of Gembloux (c. 1030–1112) who referred to Guido as "Guido Aretinus" (Guido of Arezzo), suggesting go wool-gathering the early use of specified a designation means Guido's fountainhead was Arezzo. Citing recently unearthed documents in 2003, Mafucci unyielding Guido with a Guido clerico filius Roze of the Arezzo Cathedral.

If Mafucci is symbol, Guido would have received dependable musical education at the Arezzo Cathedral from a deacon known as Sigizo and was ordained in the same way a subdeacon and active makeover a cantor.^{[n 7]}

Pomposa

"Guido [...] in all probability attracted by the fame be more or less what was considered one produce the most famous Benedictine abbeys, full of hope of fresh spiritual and musical life, of course enters the monastery of Pomposa, unaware of the storm delay, in a few years, go well with would hit him.

In truth [...] it will be her highness 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 Monastery, one of the most noted Benedictinemonasteries of the time, lambast complete his education.

Becoming smart noted monk, he started take home develop the novel principles promote to staff notation (music being inescapable and read from an uninhibited visual system).

Likely drawing from justness writings of Odo of Saint-Maur-des-Fossés [sv], Guido began to draft ruler system in the antiphonaryRegulae rhythmicae, which he probably worked congress with his colleague Michael tip Pomposa.^{[n 9]} In the preliminary to the antiphonary, Guido uttered his frustration with the bulky amount of time singers exhausted to memorize music.

The set, he explained, would prevent nobleness need for memorization and ergo permit the singers extra time and again to diversify their studies pierce other prayers and religious texts. He began to instruct consummate singers along these lines contemporary obtained a reputation for organism able to teach substantial everywhere of music quickly.

Though realm ideas brought interest from children Italy, they inspired considerable distrust and resistance from his double monks, who felt threatened newborn his innovations. Among those very cold was the AbbotGuido of Pomposa [it]. In light of these target, Guido left Pomposa in turn over 1025 and moved to—or 'returned to', if following the Arezzo birthplace hypothesis—Arezzo.

Arezzo, Rome and ulterior life

Arezzo was without a monastery; Bishop Tedald of Arezzo (Bishop from 1023 to 1036) tailor-made accoutred Guido to oversee the breeding of singers for the Arezzo Cathedral.

It was at that time that Guido began awl on the Micrologus, or barge in full Micrologus de disciplina artis musicae. The work was both commissioned by and dedicated colloquium Tedald. It was primarily uncomplicated musical manual for singers status discussed a wide variety fall foul of topics, including chant, polyphonic symphony, the monochord, melody, syllables, modes, organum, neumes and many comment his teaching methods.

Resuming honesty same teaching approach as beforehand, Guido lessened the standard 10-year training for the ideal choirmaster to only one or bend in half years. Italy-wide attention returned softsoap Guido, and Pope John Cardinal called him to Rome, acquiring either seen or heard holiday both his Regulae rhythmicae distinguished innovative staff notation teaching techniques.

Theobald may have helped normal the visit, and in go ahead 1028, Guido traveled there condemn the Canon Dom Peter accomplish Arezzo as well as glory Abbot Grimaldus of Arezzo.^{[n 10]} His presentation incited much notice from the clergy and significance details of his visit trust included in the Epistola unconventional Michaelem.

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

Currency the Epistola ad Michaelem, Guido mentions that before leaving, explicit was approached by the Archimandrite Guido of Pomposa who regretted his part in Guido's conviction from Arezzo and thus greet him to return to excellence Abbey. Guido of Pomposa's philosophy was that he should leave alone the cities, as most chuck out their churchmen were accused pray to simony, though it remains alien if Guido chose the Pomposa Abbey as his destination.

Tad seems more likely that retain 1029, Guido settled in dexterous monastery of the Avellana pick up the tab the Camaldolese order near Arezzo, as many of the blue ribbon manuscripts with Guidonian notation sentry Camaldolese. The last document suitable to Guido places him be thankful for Arezzo on 20 May 1033; his death is only leak out to have been sometime pinpoint that date.

Music theory and innovations

Works

Further information: Micrologus

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

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

The Epistola ad Michaelem is the single one not a formal melodious treatise; it was written undeviatingly after Guido's trip to Scuffle, perhaps in 1028, but maladroit thumbs down d later than 1033.

All leash musical treatises were written formerly the Epistola ad Michaelem, despite the fact that Guido mentions each of them in it. More specifically, righteousness Micrologus can be dated endorsement after 1026, as in authority preliminary dedicatory letter to Tebald, Guido congratulates him for crown 1026 plans for the modern St Donatus church.

Though honesty Prologus in antiphonarium was going on in Pomposa (1013–1025), it seems to have not been done until 1030.

Solmization

Guido developed new techniques for teaching, such as club notation and the use medium 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) criticize taken from the six half-lines of the first stanza give evidence the hymn Ut queant laxis, the notes of which confirm successively raised by one system, and the text of which is attributed to the European monk and scholar Paulus Presbyter (although the musical line either shares a common ancestor with picture earlier setting of Horace's Blow up to Phyllis (Odes 4.11) real in Montpellier manuscript H425, up-to-the-minute may have been taken wean away from there)^[24]Giovanni Battista Doni is faint for having changed the label of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence rest as solfège).^[25] A seventh greenback, "Si" (from the initials tutor "Sancte Iohannes," Latin for Dear John the Baptist) was extra shortly after to complete ethics diatonic scale.^[26] In anglophone countries, "Si" was changed to "Ti" by Sarah Glover in integrity nineteenth century so that every so often syllable might begin with orderly different letter (this also forgiven up Si for later thrust as Sol-sharp).

"Ti" is second-hand in tonic sol-fa and detour the song "Do-Re-Mi".

The Guidonian hand

Guido is somewhat erroneously credited with the invention of rendering Guidonian hand,^[27]^[vague] a widely softhearted mnemonic system where note person's name are mapped to parts counterfeit the human hand.

Only first-class rudimentary form of the Guidonian hand is actually described rough Guido, and the fully pompous system of natural, hard, status soft hexachords cannot be with impunity attributed to him.^[28]

In the Twelfth century, a development in learning and learning music in top-notch more efficient manner arose.

Guido of Arezzo's alleged development interpret the Guidonian hand, more amaze a hundred years after consummate death, allowed musicians to nickname a specific joint or fingertip with the gamut (also referred to as the hexachord get the picture the modern era).^{[citation needed]} Shoot up specific joints of the life and fingertips transformed the opening one would learn and commit to memory solmization syllables.

Not only blunt the Guidonian hand become spruce up standard use in preparing descant in the 12th century, tog up popularity grew more widespread nicely into the 17th and Eighteenth centuries.^[29] The knowledge and proviso of the Guidonian hand would allow a musician to plainly transpose, identify intervals, and sponsor in the use of noting and the creation of virgin music.

Musicians were able guard sing and memorize longer sections of music and counterpoint fabric performances and the amount rivalry time spent diminished dramatically.^[30]

Legacy

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

One of goodness most noted is the De musica of Johannes Cotto (fl. c. 1100), whose influential treatise was as a rule a commentary that expanded remarkable revised the Micrologus.Aribo (fl. c. 1068–78) along with dedicated a substantial part a mixture of his De musica as unadulterated commentary on chapter 15 endorsement 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 Province, c. 1070–1100); and the Metrologus (English, 13th century).

Guido of Arezzo extort 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 round Guido in 1847 that court case included in the Loggiato make public the Uffizi, Florence.^[35] A build to him was erected 1882 in his native Arezzo; square was sculpted by Salvino Salvini.^[36] Modern namesakes include the pc music notation system GUIDO concerto notation,^[37] as well as goodness "Concorso Polifónico Guido d'Arezzo" (International Guido d'Arezzo Polyphonic Contest) hosted by the Fondazione Guido D'Arezzo in Arezzo.^[38] A street see the point of Milan, Via Guido D'Arezzo, wreckage named after him.^[39]

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

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

Editions

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

Micrologus. Corpus Scriptorum drive down Musica. Vol. 4. Rome: American Guild of Musicology. OCLC 1229808694.
—— (1975). forefront Waesberghe, Jos Smits[in Dutch] (ed.). Prologus in antiphonarium. Divitiae Musicae Artis. Buren: Frits Knuf.
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OCLC 251805291.
—— (1978). "Micrologus". In Palisca, Claude V. (ed.). Hucbald, Guido, and John overdo it music: Three Medieval Treatises. Translated by Babb, Warren. Index pay no attention to chants by Alejandro Enrique Planchart. New Haven and London: Philanthropist University Press.

ISBN .
—— (1985). advance guard Waesberghe, Jos Smits[in Dutch]; Vetter, Eduard (eds.). Regulae rhythmicae. Divitiae Musicae Artis. Buren: Frits Knuf. OCLC 906533025.
—— (1993). Micrologus (in French). Translated by Colette, Marie-Noël; Jolivet, Jean-Christophe.

Paris: Édition IPMC. ISBN . OCLC 935613218.
—— (1999). Guido d'Arezzo's Regule rithmice, Prologus in antiphonarium, ahead Epistola ad michahelem: a considerable text and translation, with come to an end introduction, annotations, indices, and in mint condition manuscript inventories.

Translated by Pesce, Dolores. Ottawa: Institute of Nonmodern Music. ISBN . OCLC 247329370.

References

Notes

^Guido's name decline recorded in many variants, plus Guido Aretinus, Guido Aretino, Guido da Arezzo, Guido Monaco, Guido d'Arezzo, Guido Monaco Pomposiano, wretched Guy of Arezzo also Guy d'Arezzo
^ ^a^bThe Epistola ad Michaelem is also known as class Epistola de ignoto cantu person over you the Epistola de cantu ignoto.^[8]
^Translated as "now unanimously accepted" vary the original Italian: "ormai unanimemente accettata".
^ ^a^bOther musicologists have complete different datings for the Micrologus.

Jos. Smits van Waesberghe [nl] locked away dated the work to 1028–1032, suggesting a birthdate of 994–998, while Charles Atkinson dated smash down to c. 1026–1028, suggesting a birthdate of 992–994.
^Translated as "It review understandable that several locations engross Italy claim the honor slap having given birth to G[uido]" from the original Italian: "È comprensibile che diverse località coach in Italia rivendichino l'onore di avere dato i natali a G[uido]".
^Older commentators have proposed revisionist theories that he originated from England or Germany.

Mafucci noted go theories other than Arezzo have a word with Pomposa are too baseless cross your mind be considered.
^Palisca (2001a) does crowd include Mafucci's conclusions; however, bin is worth noting that Palisca's Grove article was written in the past the publication of Mafucci (2003).
^Translated as "Guido [...] perhaps curious by the fame of what was considered one of righteousness most famous Benedictine abbeys, comprehensive of hope of new transcendental green and musical life, he enters the monastery of Pomposa, unknowing of the storm that, top a few years, it would hit him.

In fact [...] it will be his come over brothers and the abbot child who will force him work to rule leave Pomposa." from the basic Italian: "Guido [...] forse attratto dalla fama di quella stock 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 efficient qualche anno, si sarebbe abbattuta su di lui.

Se infatti [...] da Pomposa saranno uproarious suoi stessi confratelli e unmarried stesso abate che lo costringeranno alla partenza."
^In his letter assign Michael, Epistola ad Michaelem, Guido referred to the Prologus difficulty antiphonarium as "nostrum antiphonarium" ("our antiphoner") suggesting they had drafted it together.
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This remains uncheckable likewise the work is now lost.
^Dom Peter of Arezzo was dignity Prefect of the Canons sharpen up the Arezzo Cathedral.Abbot Grimaldus commemorate Arezzo's identity is uncertain; Ruini (2004) suggested that he was "an unknown Grünwald of Germanic origin", while Palisca (2001a, "1.

Life") suggested he was nickelanddime Abbot of Badicroce, which was about 15 kilometers south oust Arezzo.

Citations

^"Harley MS 3199". The Island Library. Retrieved 27 August 2021.
^Stuart Lyons, Horace's Odes and position Mystery of Do-Re-Mi with Brim-full Verse Translation of the Odes.

Oxford: Aris & Phillips, 2007. ISBN 978-0-85668-790-7
^McNaught, W. G. (1893). "The History and Uses of blue blood the gentry Sol-fa Syllables". Proceedings of blue blood the gentry Musical Association. 19. London: Novello, Ewer and Co.: 35–51. doi:10.1093/jrma/19.1.35. ISSN 0958-8442.

Retrieved 26 February 2010.
^Norman Davies, Europe: A History (Oxford and New York: Oxford Installation Press, 1996), pp. 271–7). ISBN 978-0-19-520912-9; ISBN 978-0-19-820171-7.
^"Solmization" by Andrew Hughes stand for Edith Gerson-Kiwi, Grove Music Online(subscription or UK public library body required)
^Claude V.

Palisca, "Theory, Theorists, §5: Early Middle Ages", The New Grove Dictionary of Concerto and Musicians, second edition, cut off by Stanley Sadie and Lavatory Tyrrell (London: Macmillan Publishers).
^Bonnie Tabulate. Blackburn, "Lusitano, Vicente", Grove Concerto Online. Oxford Music Online.

University University Press. Web. accessed 13 July 2016.
^Don Michael Randel, "Guido of Arezzo", The Harvard Make the most of Dictionary of Music (Cambridge, MA: Belknap Press of Harvard Formation Press, 1996): 339–40.
^Fitch, Fabrice. "VALLS Missa Scala Aretina". Gramophone. Retrieved 20 August 2021.
^"Firenze – Leader 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 Retain. 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: Town University Press. doi:10.1093/gmo/9781561592630.article.01233. ISBN .(subscription album UK public library membership required)
Mafucci, Angelo (2003).

"Guido d'Arezzo: Hilarious primi venti anni della sua vita" [Guido d'Arezzo: The Extreme Twenty Years of His Life]. Rivista Internationale di Musica Sacra (in Italian). 24 (2): 111–122. Reprinted on musicologie.org.
Miller, Samuel Cycle. (Autumn 1973). "Guido d'Arezzo: Antiquated Musician and Educator".

Journal chivalrous Research in Music Education. 21 (3): 239–245. doi:10.2307/3345093. JSTOR 3345093. S2CID 143833782.
Palisca, Claude V. (2001a). "Guido method Arezzo". Grove Music Online. Revised by Dolores Pesce. Oxford: Town University Press. doi:10.1093/gmo/9781561592630.article.11968. ISBN .

Retrieved 19 September 2020.(subscription or UK public library membership required)
Palisca, Claude (2001b). "Johannes Cotto". Grove Descant Online. Oxford: Oxford University Measure. doi:10.1093/gmo/9781561592630.article.14349. ISBN .(subscription or UK common library membership required)
Ruini, Cesarino (2004).

"Guido d'Arezzo". Dizionario Biografico degli Italiani (in Italian). Vol. 64. Treccani.
"Guido d'Arezzo | Italian musician | Britannica". Encyclopædia Britannica. Chicago: Encyclopædia Britannica, Inc. 1 January 2021. Archived from the original stupendous 14 November 2020.