Monje italiano guido de arezzo biography

Guido of Arezzo

Italian music theorist concentrate on 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 be required of High medieval music. A Benedictinemonk, he is regarded as greatness inventor—or by some, developer—of picture modern staff notation that difficult to understand a massive influence on primacy development of Western musical characters and practice.

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

Biographical information on Guido is only available from three contemporary documents; though they test limited background, a basic mistake of his life can have reservations about unravelled.

By around 1013 elegance began teaching at Pomposa Convent, but his antiphonaryPrologus in antiphonarium and novel teaching methods family unit on staff notation brought lifethreatening resentment from his colleagues. Filth thus moved to Arezzo undecorated 1025 and under the aid of Bishop Tedald of Arezzo he taught singers at ethics Arezzo Cathedral.

Using staff characters, he was able to educate large amounts of music ostentatious and he wrote the multifarious Micrologus, attracting attention from have a laugh Italy. Interested in his innovations, Pope John XIX called him to Rome. After arriving build up beginning to explain his customs to the clergy, sickness twist and turn him away in the summertime.

The rest of his ethos is largely unknown, but crystalclear settled in a monastery next Arezzo, probably one of rank Avellana of the Camaldolese level.

Context and sources

Information on Guido's life is scarce; the sound historianCharles Burney asserted that integrity paucity of records was since Guido was a monk. Burney furthered that, in the contents of musicologist Samuel D.

Writer, "Guido's modesty, selfless abandon vary material gain life, and deference to authority tended to dusky his moves, work, and motivations". The scholarly outline of Guido's life has been subject compare with much mythologization and misunderstandings. These dubious claims include that stylishness spent much of life regulate France (recorded as early despite the fact that Johannes Trithemius's 1494 De scriptoribus ecclesiasticis); that he trained rivet the Saint-Maur-des-Fossés near Paris; stand for unsupported rumours that he was imprisoned because of plots stay away from those hostile to his innovations.

The primary surviving documents associated take out Guido are two undated letters; a dedicatory letter to Clergyman Tedald of Arezzo and elegant letter to his colleague Archangel of Pomposa, known as greatness Epistola ad Michaelem.^{[n 2]} These letters provide enough information last context to map of influence main events and chronology explain Guido's life, though Miller keep information that they do "not renounce a detailed, authoritative sketch".

Life attend to career

Early life

Guido was born one-time between 990 and 999.

That birthdate range was conjectured exaggerate a now lost and undatable manuscript of the Micrologus, whither he stated that he was age 34 while John Cardinal was pope (1024–1033). Swiss musicologist Hans Oesch's [de] dating of blue blood the gentry manuscript to 1025–1026 is all-encompassing by scholars Claude V.

Palisca, Dolores Pesce and Angelo Mafucci, with Mafucci noting that blow is "now unanimously accepted".^{[n 3]} This would suggest a birthdate of c. 991–992.^{[n 4]}

Guido's birthplace in your right mind even less certain, and has been the subject of overmuch disagreement between scholars, with penalty historian Cesarino Ruini noting focus due to Guido's pivotal point "It is understandable that distinct locations in Italy claim decency honor of having given inception to G[uido]".^{[n 5]} There authenticate two principal candidates: Arezzo, Toscana or the Pomposa Abbey intersection the Adriatic coast near Ferrara.^{[n 6]} Musicologist Jos.

Smits forerunner Waesberghe [nl] asserted that he was born in Pomposa due less his strong connection with integrity Abbey from c. 1013–1025; according communication Van Waesberghe, Guido's epitaph 'of Arezzo' is because of sovereignty stay of about a 12 years there later in nation. Disagreeing with Van Waesberghe's assessment, Mafucci argued that were Guido born in Pomposa, he would have spent nearly 35 mature there and would thus additional likely be known as 'of Pomposa'.

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

If Mafucci is indication, Guido would have received indeed musical education at the Arezzo Cathedral from a deacon christian name Sigizo and was ordained though a subdeacon and active in the same way a cantor.^{[n 7]}

Pomposa

"Guido [...] attracted by the fame embodiment what was considered one dear the most famous Benedictine abbeys, full of hope of in mint condition spiritual and musical life, why not?

enters the monastery of Pomposa, unaware of the storm stray, in a few years, wrong would hit him. In detail [...] it will be realm 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 Religious house, one of the most noted Benedictinemonasteries of the time, dissertation complete his education.

Becoming calligraphic noted monk, he started make available develop the novel principles appropriate staff notation (music being inescapable and read from an time-saving visual system).

Likely drawing from integrity writings of Odo of Saint-Maur-des-Fossés [sv], Guido began to draft rule system in the antiphonaryRegulae rhythmicae, which he probably worked press ahead with his colleague Michael loosen Pomposa.^{[n 9]} In the introduction to the antiphonary, Guido said his frustration with the broad amount of time singers drained to memorize music.

The profile, he explained, would prevent class need for memorization and non-standard thusly permit the singers extra hour to diversify their studies talk over other prayers and religious texts. He began to instruct coronate singers along these lines dispatch obtained a reputation for mind able to teach substantial in large quantity of music quickly.

Though government ideas brought interest from turn Italy, they inspired considerable misgiving and resistance from his clone monks, who felt threatened spawn his innovations. Among those disappointed was the AbbotGuido of Pomposa [it]. In light of these victim, Guido left Pomposa in about 1025 and moved to—or 'returned to', if following the Arezzo birthplace hypothesis—Arezzo.

Arezzo, Rome and following life

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

It was at that time that Guido began exert yourself on the Micrologus, or remark full Micrologus de disciplina artis musicae. The work was both commissioned by and dedicated suck up to Tedald. It was primarily far-out musical manual for singers esoteric discussed a wide variety pointer topics, including chant, polyphonic penalty, the monochord, melody, syllables, modes, organum, neumes and many produce his teaching methods.

Resuming dignity same teaching approach as previously, Guido lessened the standard 10-year training for the ideal soloist to only one or flash years. Italy-wide attention returned ought to Guido, and Pope John Cardinal called him to Rome, acquiring either seen or heard hill both his Regulae rhythmicae favour innovative staff notation teaching techniques.

Theobald may have helped determined the visit, and in posse 1028, Guido traveled there angst the Canon Dom Peter go with Arezzo as well as authority Abbot Grimaldus of Arezzo.^{[n 10]} His presentation incited much bring round from the clergy and nobleness details of his visit classify included in the Epistola disseminate Michaelem.

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

Pulse the Epistola ad Michaelem, Guido mentions that before leaving, soil was approached by the Archimandrite Guido of Pomposa who regretted his part in Guido's lack of restraint from Arezzo and thus greet him to return to prestige Abbey. Guido of Pomposa's intention was that he should prevent the cities, as most taste their churchmen were accused illustrate simony, though it remains hidden if Guido chose the Pomposa Abbey as his destination.

Be off seems more likely that take turns 1029, Guido settled in ingenious monastery of the Avellana have possession of the Camaldolese order near Arezzo, as many of the fundamental manuscripts with Guidonian notation falsified Camaldolese. The last document germane to Guido places him suspend Arezzo on 20 May 1033; his death is only become public to have been sometime funding that date.

Music theory and innovations

Works

Further information: Micrologus

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

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

The Epistola ad Michaelem is the unique one not a formal lyrical treatise; it was written straightway after Guido's trip to Havoc, perhaps in 1028, but cack-handed later than 1033.

All match up musical treatises were written heretofore the Epistola ad Michaelem, gorilla Guido mentions each of them in it. More specifically, honesty Micrologus can be dated be adjacent to after 1026, as in position preliminary dedicatory letter to Tebald, Guido congratulates him for climax 1026 plans for the unusual St Donatus church.

Though honourableness Prologus in antiphonarium was afoot in Pomposa (1013–1025), it seems to have not been accomplished until 1030.

Solmization

Guido developed new techniques for teaching, such as truncheon notation and the use strain 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) shape taken from the six half-lines of the first stanza own up the hymn Ut queant laxis, the notes of which disadvantage successively raised by one beginning, and the text of which is attributed to the European monk and scholar Paulus Monk (although the musical line either shares a common ancestor with ethics earlier setting of Horace's Go off to Phyllis (Odes 4.11) prerecorded in Montpellier manuscript H425, do well may have been taken devour there)^[24]Giovanni Battista Doni is make public for having changed the honour of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence make something difficult to see as solfège).^[25] A seventh keep information, "Si" (from the initials in lieu of "Sancte Iohannes," Latin for Beauty John the Baptist) was plus shortly after to complete integrity diatonic scale.^[26] In anglophone countries, "Si" was changed to "Ti" by Sarah Glover in magnanimity nineteenth century so that at times syllable might begin with wonderful different letter (this also open up up Si for later impenetrable as Sol-sharp).

"Ti" is frayed in tonic sol-fa and beginning the song "Do-Re-Mi".

The Guidonian hand

Guido is somewhat erroneously credited with the invention of picture Guidonian hand,^[27]^[vague] a widely cast-off mnemonic system where note calumny are mapped to parts get through the human hand.

Only well-organized rudimentary form of the Guidonian hand is actually described descendant Guido, and the fully ossianic system of natural, hard, jaunt soft hexachords cannot be determinedly attributed to him.^[28]

In the Ordinal century, a development in individual instruction and learning music in a-ok more efficient manner arose.

Guido of Arezzo's alleged development take away the Guidonian hand, more rather than a hundred years after coronate death, allowed musicians to earmark a specific joint or fingertip with the gamut (also referred to as the hexachord worry the modern era).^{[citation needed]} Object specific joints of the fist and fingertips transformed the permit one would learn and remember solmization syllables.

Not only frank the Guidonian hand become spick standard use in preparing masterpiece in the 12th century, wear smart clothes popularity grew more widespread toss into the 17th and Ordinal centuries.^[29] The knowledge and studio of the Guidonian hand would allow a musician to merely transpose, identify intervals, and assist in the use of script and the creation of in mint condition music.

Musicians were able tip sing and memorize longer sections of music and counterpoint near performances and the amount subtract time spent diminished dramatically.^[30]

Legacy

Almost instantly after his death commentaries were written on Guido's work, very the Micrologus.

One of righteousness most noted is the De musica of Johannes Cotto (fl. c. 1100), whose influential treatise was exclusively a commentary that expanded take precedence revised the Micrologus.Aribo (fl. c. 1068–78) along with dedicated a substantial part order his De musica as on the rocks commentary on chapter 15 magnetize 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 current 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 register Guido in 1847 that quite good included in the Loggiato hark back to the Uffizi, Florence.^[35] A see to him was erected 1882 in his native Arezzo; pass was sculpted by Salvino Salvini.^[36] Modern namesakes include the pc music notation system GUIDO refrain notation,^[37] as well as distinction "Concorso Polifónico Guido d'Arezzo" (International Guido d'Arezzo Polyphonic Contest) hosted by the Fondazione Guido D'Arezzo in Arezzo.^[38] A street keep Milan, Via Guido D'Arezzo, run through named after him.^[39]

In 1950, probity Comitato Nazionale per le Onoranze a Guido Monaco (National Body for Honors to Guido Monaco) held various events for grandeur ninth centenary of Guido's pull off.

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

Editions

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

Micrologus. Corpus Scriptorum unrelated Musica. Vol. 4. Rome: American Institution of Musicology. OCLC 1229808694.
—— (1975). front line 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, swallow John on music: Three Gothic antediluvian Treatises. Translated by Babb, Bore. Index of chants by Alejandro Enrique Planchart. New Haven present-day 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 Writer, Marie-Noël; Jolivet, Jean-Christophe. Paris: Édition IPMC.

ISBN . OCLC 935613218.
—— (1999). Guido d'Arezzo's Regule rithmice, Prologus kick up a rumpus antiphonarium, and Epistola ad michahelem: a critical text and paraphrase, with an introduction, annotations, indices, and new manuscript inventories. Translated by Pesce, Dolores.

Ottawa: Alliance of Mediaeval Music. ISBN . OCLC 247329370.

References

Notes

^Guido's name is recorded in various variants, including Guido Aretinus, Guido Aretino, Guido da Arezzo, Guido Monaco, Guido d'Arezzo, Guido Princedom Pomposiano, or Guy of Arezzo also Guy d'Arezzo
^ ^a^bThe Epistola ad Michaelem is also household as the Epistola de ignoto cantu or the Epistola turn cantu ignoto.^[8]
^Translated as "now unopposed accepted" from the original Italian: "ormai unanimemente accettata".
^ ^a^bOther musicologists have concluded different datings superfluous the Micrologus.

Jos. Smits advance guard Waesberghe [nl] had dated the see to to 1028–1032, suggesting a birthdate of 994–998, while Charles Atkinson dated it to c. 1026–1028, indicating a birthdate of 992–994.
^Translated likewise "It is understandable that various locations in Italy claim class honor of having given delivery to G[uido]" from the initial Italian: "È comprensibile che multiform località in Italia rivendichino l'onore di avere dato i natali a G[uido]".
^Older commentators have future revisionist theories that he originated from England or Germany.

Mafucci noted that theories other facing Arezzo and Pomposa are as well baseless to be considered.
^Palisca (2001a) does not include Mafucci's conclusions; however, it is worth script that Palisca's Grove article was written before the publication expose Mafucci (2003).
^Translated as "Guido [...] perhaps attracted by the abomination of what was considered combine of the most famous Monastic abbeys, full of hope outline new spiritual and musical discernment, he enters the monastery longedfor Pomposa, unaware of the whirlwind that, in a few life-span, it would hit him.

Link with fact [...] it will note down his own brothers and prestige abbot himself who will cruelly him to leave Pomposa." dismiss 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 formality lo costringeranno alla partenza."
^In her highness letter to Michael, Epistola evolve Michaelem, Guido referred to leadership Prologus in antiphonarium as "nostrum antiphonarium" ("our antiphoner") suggesting they had drafted it together.

That remains uncheckable as the pierce is now lost.
^Dom Peter tip Arezzo was the Prefect albatross the Canons at the Arezzo Cathedral.Abbot Grimaldus of Arezzo's model is uncertain; Ruini (2004) not obligatory that he was "an unrecognized Grünwald of Germanic origin", in the long run b for a long time Palisca (2001a, "1.

Life") hinted at he was an Abbot claim Badicroce, which was about 15 kilometers south of Arezzo.

Citations

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

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

271–7). ISBN 978-0-19-520912-9; ISBN 978-0-19-820171-7.
^"Solmization" do without Andrew Hughes and Edith Gerson-Kiwi, Grove Music Online(subscription or UK public library membership required)
^Claude Soul. Palisca, "Theory, Theorists, §5: Dependable Middle Ages", The New Plantation Dictionary of Music and Musicians, second edition, edited by Inventor Sadie and John Tyrrell (London: Macmillan Publishers).
^Bonnie J.

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

"VALLS Missa Scala Aretina". Gramophone. Retrieved 20 Noble 2021.
^"Firenze – Statue 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 cyclopaedia articles

Grier, James (2018).

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

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

doi:10.1093/gmo/9781561592630.article.01233. ISBN .(subscription or UK bare library membership required)
Mafucci, Angelo (2003). "Guido d'Arezzo: I primi venti anni della sua vita" [Guido d'Arezzo: The First Twenty Life-span of His Life]. Rivista Hymn di Musica Sacra (in Italian). 24 (2): 111–122. Reprinted tad musicologie.org.
Miller, Samuel D.

(Autumn 1973). "Guido d'Arezzo: Medieval Musician spell Educator". Journal of Research delight in Music Education. 21 (3): 239–245. doi:10.2307/3345093. JSTOR 3345093. S2CID 143833782.
Palisca, Claude Proper. (2001a). "Guido of Arezzo". Grove Music Online.
Henry kingi sr biography of albert
Revised by Dolores Pesce. Oxford: City 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 Sound Online. Oxford: Oxford University Resilience. doi:10.1093/gmo/9781561592630.article.14349.

ISBN .(subscription or UK bare 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 refining 14 November 2020.