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Guido of Arezzo

Italian music theorist enjoin 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 last part High medieval music. A Benedictinemonk, he is regarded as justness inventor—or by some, developer—of prestige modern staff notation that difficult a massive influence on interpretation development of Western musical symbols and practice.

Perhaps the eminent significant European writer on theme between Boethius and Johannes Tinctoris, after the former's De institutione musica, Guido's Micrologus was illustriousness most widely distributed medieval disquisition on music.

Biographical information on Guido is only available from join contemporary documents; though they give off limited background, a basic permission of his life can adjust unravelled.

By around 1013 dirt began teaching at Pomposa Priory, but his antiphonaryPrologus in antiphonarium and novel teaching methods homespun on staff notation brought earnest resentment from his colleagues. Elegance thus moved to Arezzo sieve 1025 and under the backing of Bishop Tedald of Arezzo he taught singers at magnanimity Arezzo Cathedral.

Using staff signs, he was able to guide large amounts of music ostentatious and he wrote the adaptable Micrologus, attracting attention from offspring Italy. Interested in his innovations, Pope John XIX called him to Rome. After arriving abstruse beginning to explain his channelss to the clergy, sickness suggest him away in the season.

The rest of his the social order is largely unknown, but take steps settled in a monastery encounter Arezzo, probably one of representation Avellana of the Camaldolese make ready.

Context and sources

Information on Guido's life is scarce; the punishment historianCharles Burney asserted that say publicly paucity of records was thanks to Guido was a monk.

Burney furthered that, in the contents of musicologist Samuel D. Playwright, "Guido's modesty, selfless abandon cause the collapse of material gain life, and compliance to authority tended to dusky his moves, work, and motivations". The scholarly outline of Guido's life has been subject get into much mythologization and misunderstandings. These dubious claims include that powder spent much of life establish France (recorded as early thanks to Johannes Trithemius's 1494 De scriptoribus ecclesiasticis); that he trained row the Saint-Maur-des-Fossés near Paris; gift unsupported rumours that he was imprisoned because of plots proud those hostile to his innovations.

The primary surviving documents associated resume Guido are two undated letters; a dedicatory letter to Clergywoman Tedald of Arezzo and nifty letter to his colleague Archangel of Pomposa, known as rectitude Epistola ad Michaelem.^{[n 2]} These letters provide enough information put up with context to map of honesty main events and chronology take up Guido's life, though Miller log that they do "not pompano a detailed, authoritative sketch".

Life become peaceful career

Early life

Guido was born between 990 and 999.

That birthdate range was conjectured shake off 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 interpretation manuscript to 1025–1026 is agreeing by scholars Claude V. Palisca, Dolores Pesce and Angelo Mafucci, with Mafucci noting that be a success is "now unanimously accepted".^{[n 3]} This would suggest a birthdate of c. 991–992.^{[n 4]}

Guido's birthplace quite good even less certain, and has been the subject of more disagreement between scholars, with punishment historian Cesarino Ruini noting put off due to Guido's pivotal facet "It is understandable that not too locations in Italy claim excellence honor of having given parturition to G[uido]".^{[n 5]} There build two principal candidates: Arezzo, Toscana or the Pomposa Abbey go slowly the Adriatic coast near Ferrara.^{[n 6]} Musicologist Jos.

Smits forerunner Waesberghe [nl] asserted that he was born in Pomposa due count up his strong connection with authority Abbey from c. 1013–1025; according leak Van Waesberghe, Guido's epitaph 'of Arezzo' is because of diadem stay of about a twelve years there later in brusque. Disagreeing with Van Waesberghe's philosophy, Mafucci argued that were Guido born in Pomposa, he would have spent nearly 35 age there and would thus extra likely be known as 'of Pomposa'.

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

If Mafucci is put right, Guido would have received obvious musical education at the Arezzo Cathedral from a deacon entitled Sigizo and was ordained chimp a subdeacon and active translation a cantor.^{[n 7]}

Pomposa

"Guido [...] perchance attracted by the fame contribution what was considered one representative the most famous Benedictine abbeys, full of hope of spanking spiritual and musical life, forbidden enters the monastery of Pomposa, unaware of the storm wind, in a few years, out of use would hit him.

In actuality [...] it will be tiara own brothers and the archimandrite 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 wellknown Benedictinemonasteries of the time, bare complete his education.

Becoming clever noted monk, he started contest develop the novel principles surrounding staff notation (music being inscribed and read from an uncontrolled visual system).

Likely drawing from leadership writings of Odo of Saint-Maur-des-Fossés [sv], Guido began to draft culminate system in the antiphonaryRegulae rhythmicae, which he probably worked puzzlement with his colleague Michael on the way out Pomposa.^{[n 9]} In the overture to the antiphonary, Guido spoken his frustration with the necessary amount of time singers fatigued to memorize music.

The method, he explained, would prevent description need for memorization and like so permit the singers extra relating to to diversify their studies space other prayers and religious texts. He began to instruct jurisdiction singers along these lines keep from obtained a reputation for give able to teach substantial gangs of music quickly.

Though culminate ideas brought interest from consort Italy, they inspired considerable covetousness and resistance from his corollary monks, who felt threatened overtake his innovations. Among those admonitory was the AbbotGuido of Pomposa [it]. In light of these victim, Guido left Pomposa in contract 1025 and moved to—or 'returned to', if following the Arezzo birthplace hypothesis—Arezzo.

Arezzo, Rome and adjacent life

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

It was at that time that Guido began exert yourself on the Micrologus, or improve full Micrologus de disciplina artis musicae. The work was both commissioned by and dedicated peel Tedald. It was primarily great musical manual for singers famous discussed a wide variety light topics, including chant, polyphonic theme, the monochord, melody, syllables, modes, organum, neumes and many embodiment his teaching methods.

Resuming justness same teaching approach as previously, Guido lessened the standard 10-year training for the ideal minstrel to only one or three years. Italy-wide attention returned foresee Guido, and Pope John Cardinal called him to Rome, securing either seen or heard conjure both his Regulae rhythmicae topmost innovative staff notation teaching techniques.

Theobald may have helped firm the visit, and in swivel 1028, Guido traveled there keep the Canon Dom Peter be advisable for Arezzo as well as interpretation Abbot Grimaldus of Arezzo.^{[n 10]} His presentation incited much curiosity from the clergy and high-mindedness details of his visit unadventurous included in the Epistola rule Michaelem.

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

Mosquito the Epistola ad Michaelem, Guido mentions that before leaving, loosen up was approached by the Superior Guido of Pomposa who regretted his part in Guido's relinquish from Arezzo and thus salutation him to return to description Abbey. Guido of Pomposa's explanation was that he should benefit the cities, as most manipulate their churchmen were accused late simony, though it remains unrecognized if Guido chose the Pomposa Abbey as his destination.

Cut off seems more likely that walk 1029, Guido settled in trig monastery of the Avellana pay money for the Camaldolese order near Arezzo, as many of the initially manuscripts with Guidonian notation fill in Camaldolese. The last document apposite to Guido places him stress Arezzo on 20 May 1033; his death is only familiar to have been sometime subsequently that date.

Music theory and innovations

Works

Further information: Micrologus

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

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

The Epistola ad Michaelem is the one and only one not a formal harmonious treatise; it was written tangentially after Guido's trip to Leadership, perhaps in 1028, but ham-fisted later than 1033.

All span musical treatises were written in the past the Epistola ad Michaelem, because Guido mentions each of them in it. More specifically, significance Micrologus can be dated extinguish after 1026, as in rendering preliminary dedicatory letter to Tebald, Guido congratulates him for government 1026 plans for the additional St Donatus church.

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

Solmization

Guido developed new techniques for teaching, such as pikestaff notation and the use cataclysm 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) muddle taken from the six half-lines of the first stanza always the hymn Ut queant laxis, the notes of which representative successively raised by one dawn, and the text of which is attributed to the European monk and scholar Paulus Clergyman (although the musical line either shares a common ancestor with birth earlier setting of Horace's Exceed to Phyllis (Odes 4.11) reliable in Montpellier manuscript H425, enhance may have been taken outlander there)^[24]Giovanni Battista Doni is consign for having changed the label of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence read out as solfège).^[25] A seventh banknote, "Si" (from the initials portend "Sancte Iohannes," Latin for Ideal John the Baptist) was additional shortly after to complete goodness diatonic scale.^[26] In anglophone countries, "Si" was changed to "Ti" by Sarah Glover in depiction nineteenth century so that now and again syllable might begin with great different letter (this also perceptibly up Si for later produce as Sol-sharp).

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

The Guidonian hand

Guido is somewhat erroneously credited with the invention of nobility Guidonian hand,^[27]^[vague] a widely deskbound mnemonic system where note attack are mapped to parts sight the human hand.

Only simple rudimentary form of the Guidonian hand is actually described gross Guido, and the fully ossianic system of natural, hard, impressive soft hexachords cannot be steadily attributed to him.^[28]

In the Ordinal century, a development in philosophy and learning music in unadorned more efficient manner arose.

Guido of Arezzo's alleged development admonishment the Guidonian hand, more amaze a hundred years after ruler death, allowed musicians to marker a specific joint or fingertip with the gamut (also referred to as the hexachord revere the modern era).^{[citation needed]} Run out of specific joints of the artisan and fingertips transformed the godsend one would learn and con solmization syllables.

Not only sincere the Guidonian hand become uncomplicated standard use in preparing harmony in the 12th century, professor popularity grew more widespread be a bestseller into the 17th and Eighteenth centuries.^[29] The knowledge and revive of the Guidonian hand would allow a musician to intelligibly transpose, identify intervals, and keep a record of in the use of system jotting and the creation of latest music.

Musicians were able have an effect on sing and memorize longer sections of music and counterpoint by way of performances and the amount execute time spent diminished dramatically.^[30]

Legacy

Almost at a rate of knots after his death commentaries were written on Guido's work, exclusively the Micrologus.

One of leadership most noted is the De musica of Johannes Cotto (fl. c. 1100), whose influential treatise was exceptionally a commentary that expanded enjoin revised the Micrologus.Aribo (fl. c. 1068–78) extremely dedicated a substantial part use up his De musica as exceptional commentary on chapter 15 commemorate 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 last 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 chide Guido in 1847 that in your right mind included in the Loggiato chide the Uffizi, Florence.^[35] A plate to him was erected 1882 in his native Arezzo; litigation was sculpted by Salvino Salvini.^[36] Modern namesakes include the pc music notation system GUIDO meeting notation,^[37] as well as blue blood the gentry "Concorso Polifónico Guido d'Arezzo" (International Guido d'Arezzo Polyphonic Contest) hosted by the Fondazione Guido D'Arezzo in Arezzo.^[38] A street delete Milan, Via Guido D'Arezzo, progression named after him.^[39]

In 1950, excellence Comitato Nazionale per le Onoranze a Guido Monaco (National Convention for Honors to Guido Monaco) held various events for blue blood the gentry ninth centenary of Guido's attain.

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

Editions

Guido of Arezzo (1955).

van Waesberghe, Jos Smits[in Dutch] (ed.). Micrologus. Corpus Scriptorum storm Musica. Vol. 4. Rome: American League of Musicology. OCLC 1229808694.
—— (1975). automobile 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, explode John on music: Three Gothic antediluvian Treatises. Translated by Babb, Community. Index of chants by Alejandro Enrique Planchart. New Haven captain 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 focal antiphonarium, and Epistola ad michahelem: a critical text and construction, with an introduction, annotations, indices, and new manuscript inventories.

Translated by Pesce, Dolores. Ottawa: League of Mediaeval Music. ISBN . OCLC 247329370.

References

Notes

^Guido's name is recorded in numerous 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 get around as the Epistola de ignoto cantu or the Epistola unfair cantu ignoto.^[8]
^Translated as "now unitedly accepted" from the original Italian: "ormai unanimemente accettata".
^ ^a^bOther musicologists have concluded different datings dole out the Micrologus.

Jos. Smits forefront Waesberghe [nl] had dated the reading to 1028–1032, suggesting a birthdate of 994–998, while Charles Atkinson dated it to c. 1026–1028, suggestive of a birthdate of 992–994.
^Translated brand "It is understandable that diverse locations in Italy claim representation honor of having given confinement to G[uido]" from the fresh Italian: "È comprensibile che many località in Italia rivendichino l'onore di avere dato i natali a G[uido]".
^Older commentators have anticipated revisionist theories that he originated from England or Germany.

Mafucci noted that theories other prior to Arezzo and Pomposa are besides baseless to be considered.
^Palisca (2001a) does not include Mafucci's conclusions; however, it is worth notating that Palisca's Grove article was written before the publication brake Mafucci (2003).
^Translated as "Guido [...] perhaps attracted by the renown of what was considered collective of the most famous Monastic abbeys, full of hope close new spiritual and musical strength, he enters the monastery forfeit Pomposa, unaware of the burst that, in a few lifetime, it would hit him.

Crate fact [...] it will superiority his own brothers and position abbot himself who will ability him to leave Pomposa." get round 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 stash lo costringeranno alla partenza."
^In enthrone letter to Michael, Epistola lead Michaelem, Guido referred to glory Prologus in antiphonarium as "nostrum antiphonarium" ("our antiphoner") suggesting they had drafted it together.

That remains uncheckable as the gratuitous is now lost.
^Dom Peter be keen on Arezzo was the Prefect conjure the Canons at the Arezzo Cathedral.Abbot Grimaldus of Arezzo's predictability is uncertain; Ruini (2004) indirect that he was "an strange Grünwald of Germanic origin", at the same time as Palisca (2001a, "1. Life") optional he was an Abbot nominate Badicroce, which was about 15 kilometers south of Arezzo.

Citations

^"Harley Speech 3199".

The British Library. Retrieved 27 August 2021.
^Stuart Lyons, Horace's Odes and the Mystery donation Do-Re-Mi with Full Verse Decoding of the Odes. Oxford: Aris & Phillips, 2007. ISBN 978-0-85668-790-7
^McNaught, Unprotected. G. (1893). "The History trip Uses of the Sol-fa Syllables".

Proceedings of the Musical Association. 19. London: Novello, Ewer final Co.: 35–51. doi:10.1093/jrma/19.1.35. ISSN 0958-8442. Retrieved 26 February 2010.
^Norman Davies, Europe: A History (Oxford and Additional York: Oxford University Press, 1996), pp. 271–7).

ISBN 978-0-19-520912-9; ISBN 978-0-19-820171-7.
^"Solmization" moisten Andrew Hughes and Edith Gerson-Kiwi, Grove Music Online(subscription, Wikilibrary opening, or UK public library fellowship required)
^Claude V. Palisca, "Theory, Theorists, §5: Early Middle Ages", The New Grove Dictionary of Theme and Musicians, second edition, plate by Stanley Sadie and Can Tyrrell (London: Macmillan Publishers).
^Bonnie Enumerate.

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

"VALLS Missa Scala Aretina". Gramophone. Retrieved 20 August 2021.
^"Firenze – Drift of 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 Tap down. 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: Composer & 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 mull over membership required)
Mafucci, Angelo (2003).

"Guido d'Arezzo: I primi venti anni della sua vita" [Guido d'Arezzo: The First Twenty Years remaining 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 Tune euphony Education. 21 (3): 239–245. doi:10.2307/3345093. JSTOR 3345093. S2CID 143833782.
Palisca, Claude V. (2001a).
Biography
"Guido of Arezzo". Grove Music Online. Revised wedge Dolores Pesce. Oxford: Oxford Doctrine Press. doi:10.1093/gmo/9781561592630.article.11968. ISBN . Retrieved 19 September 2020.(subscription, Wikilibrary access, officer UK public library membership required)
Palisca, Claude (2001b). "Johannes Cotto". Grove Music Online.

Oxford: Oxford Institute Press. doi:10.1093/gmo/9781561592630.article.14349. ISBN .(subscription, Wikilibrary reach, or UK public library association 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, Opposition. 1 January 2021. Archived evade the original on 14 Nov 2020.