Guido d'Arezzo


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Related to Guido d'Arezzo: Guillaume de Machaut

Guido d'Arezzo

(gwē`dō därĕt`tsō) or

Guido Aretinus

(ârətī`nəs), c.990–1050, Italian Benedictine monk, known for his contributions to musical notation and theory. His theoretical work Micrologus (c.1025) is one of the principal sources of our knowledge of organumorganum
, in music, compositional technique, developed in Europe during the 10th cent., in which each note of Gregorian chant melody was doubled by another note. In the earliest examples, called parallel organum, the doubling interval was constant, usually the lower fourth or
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, an early form of polyphony. His work in musical notationmusical notation,
symbols used to make a written record of musical sounds.

Two different systems of letters were used to write down the instrumental and the vocal music of ancient Greece. In his five textbooks on music theory Boethius (c.A.D. 470–A.D.
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 included the addition of two lines (one red, one yellow) to the two already serving as a staff and the use of both the lines and the spaces. Also important was his system of solmization (sometimes called, after him, Aretinian syllables), whereby the syllables ut, re, mi, fa, sol, la are used as names for the six tones, C to A, known as the hexachord. As the octave replaced the hexachord, an additional syllable, si or ti, was added, and eventually ut was replaced by the more singable do. Other revisions of Guido's system that have been suggested from time to time have not survived.
References in periodicals archive ?
Es dable afirmar que si hoy podemos leer, reproducir y escuchar un madrigal de Monteverdi, un aria de Mozart, una melodia de Chopin, una opera de Puccini o Verdi, un preludio de Debussy, La consagracion de la primavera de Stravinski o Planos de Revueltas, se debe a la presencia de una tradicion musical escrita, y Guido d'Arezzo es, en gran medida, responsable de ello.
A Sor Juana le era familiar la "escala aretina"; en la "Loa 384" (a la cual me referire en adelante), identifica el nombre de cada nota con una palabra; hay, asimismo, una clara mencion a la escala de Guido d'Arezzo.
Since at least the 11th century, when Italian Benedictine monk Guido d'Arezzo put forth his methods for choir training, many teachers have agreed that associating specific syllables with specific notes can facilitate sight singing.
The Fondazione Guido d'Arezzo produces international choral competitions, facsimile and modern choral editions, annotated bibliographies, and the musicological journal, Polifonie, in an effort to promote the publication and performance of choral repertoires by knowledgeable, thoughtful performers.
The following five chapters survey a broad range of musical analyses that serve to illustrate the way the metatheory can be employed in analytical practice; the examples are drawn from across the Western art-music tradition (the earliest comes from Guido d'Arezzo, the most recent is from Michael Tippett).
At various times, Rousseau's views on solmization are related to predecessors such as Guido d'Arezzo and Loys Bourgeois, and successors such as John Curwen and Zoltan Kodaly.
In 151 folios, this manuscript preserves eleven complete theoretical texts, including the Musica enchiriadis, Scolica enchiriadis (with unusual interpolations of diverse materials), and Alia musica, the Micrologus and three other treatises by Guido d'Arezzo, and pseudo-Odo's Dialogus de musica; chapters from Aurelian of Reome's Musica disciplina; passages from Macrobius, Martianus Capella, Cassiodorus, and Isidore of Seville; plus anonymous excerpts, four tonaries, assorted mnemonic aids for the modes, poems, and a variety of illustrations.