Guido van Arezzo: Verskil tussen weergawes

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</ref> 'n Sewende noot, "Si" (van die from the initials for "Sancte Iohannes," Latin for St. John the Baptist) was added shortly after to complete the diatonic scale.<ref> Norman Davies, ''Europe: A History'' (Oxford and New York: Oxford University Press, 1996), pp. 271–7). {{ISBN|978-0-19-520912-9}}; {{ISBN|978-0-19-820171-7}}.</ref> In anglophone countries, "Si" was changed to "Ti" by [[Sarah Glover]] in the nineteenth century so that every syllable might [[Tonic sol-fa|begin with a different letter]] (this also freed up Si for later use as Sol-sharp). "Ti" is used in [[tonic sol-fa]] and in the song "[[Do-Re-Mi]]".
</ref> 'n Sewende noot, "Si" (van die voorletters vir "Sancte Iohannes," [[Latyn]] vir Johannes die Doper) was kort daarna bygevoeg om die [[Diatoniese toonleer]] te voltooi.<ref> Norman Davies, ''Europe: A History'' (Oxford and New York: Oxford University Press, 1996), bldsye. 271–7). {{ISBN|978-0-19-520912-9}}; {{ISBN|978-0-19-820171-7}}.</ref> Die "Si" was in die negentiende eeu in anglofiele lande deur [[Sarah Glover]] verander na "Ti" sodat elke lettergreep kon begin met 'n verskillende letter, [[Toniese sol-fa|begin met 'n verskillende letter]] (dit het ook "Si" vrygemaak vir latere gebruik as Sol-skerp). "Ti" word gebruik in [[toniese sol-fa]] en in die liedjie "[[Do-Re-Mi]]".


The ''Micrologus'', written at the cathedral at Arezzo and dedicated to Tedald, contains Guido's teaching method as it had developed by that time. Soon it had attracted the attention of [[Pope John XIX]], who invited Guido to Rome. Most likely he went there in 1028, but he soon returned to Arezzo, due to his poor health. It was then that he announced in a letter to Michael of Pomposa ("{{Lang|la|Epistola de ignoto cantu|italic=no}}") his discovery of the "ut–re–mi" musical mnemonic. Little is known of him after this time.
Die ''Micrologus'', wat geskryf is by die Katedraal van Arezzo en gewy is aan Tedald bevat Guido se onderrigmetode soos wat dit op daardie stadium ontwikkel was. Dit het gou die aandag getrek van [[Pous Johannes XIX]] wat Guido na [[Rome]] uitgenooi het.
Hy het waarskynlik in 1028 daarna gegaan, maar het egter gou teruggekeer na Arezzo as gevolg van written at the cathedral at Arezzo and dedicated to Tedald, contains Guido's teaching method as it had developed by that time. Soon it had attracted the attention of [[Pope John XIX]], who invited Guido to Rome. Most likely he went there in 1028, but he soon returned to Arezzo, due to his poor health. It was then that he announced in a letter to Michael of Pomposa ("{{Lang|la|Epistola de ignoto cantu|italic=no}}") his discovery of the "ut–re–mi" musical mnemonic. Little is known of him after this time.


==The Guidonian hand==
==The Guidonian hand==

Wysiging soos op 09:31, 20 April 2019

Statue of Guido in Arezzo

Guido van Arezzo (ook Guido Aretinus, Guido Aretino, Guido da Arezzo, Guido Monaco, Guido d'Arezzo, of Guy van Arezzo ook Guy d'Arezzo) (991/992 – na 1033) was 'n Italiaanse musiekteoretikus van die Middeleeue. Hy word beskou as die uitvinder van moderne Musieknotasie, of Notebalknotasie, wat Neumatiese notasie vervang het. Sy teks, die Micrologus, was die tweede mees verspreide verhandeling op musiek in die Middeleeue naas die skrywes van Boethius.

Lewe

Guido was 'n Benediktynee monnik van die Italiaanse stadstaat van Arezzo. Onlangse navorsing het sy Micrologus na 1025 of 1026 gedateer, aangesien Guido in 'n brief gekonstateer het dat hy vier-en-dertig was toe hy dit geskryf het,[1] en sy geboortedatum geag word as omstreeks 991 n.C. of 992 n.C. te wees. Sy vroee loopbaan was spandeer by die Klooster van Pomposa by die Adriatiese Seekus naby Ferrara. Terwyl hy daar was het hy opgelet hoe moeilik die sangers dit gevind het om die Gregoriaanse sang te onthou.

Hy het vorendag gekom met 'n metode vir die onderrig van die sangers om liedere in 'n kort tyd te leer, en het vinnig regdeur Noord-Italië bekend geword. Hy het hom egter die vyandelikheid van die ander monnike by die klooster op die hals gehaal, wat hom daartoe beweeg het om na Arezzo te trek, welke oor geen abdy beskik het nie. Dit het egter oor 'n groot groep sangers in die katedraal beskik. Biskop Tedald het Arezoo uitgenooi om hul opleiding waar te neem.

Terwyl Hy in Arezzo was het hy nuwe tegniek van onderrig ontwikkel, soos Notebalknotasie en die gebruik van die "ut–re–mi–fa–so–la" (do–re–mi–fa–so–la) mnemoniese (solmisasie). The ut–re–mi-fa-so-la lettergrepe is geneem van die aanvanklike lettergrepe van elke van die eerste ses half-lyne van die eerste strofe van die Himne Ut queant laxis. Die teks daarvan word toegeskryf aan die Italiaanse monnik en geleerde Paulus Diaconus (alhoewel die musikale lyn of 'n gemeenskaplike voorouer deel met die vroeëre musiek van Horace se "Ode aan Phyllis" (Odes 4.11), opgeneem in die Montpellier manuskrip H425, of daarvan geneem kon gewees het).[1] Giovanni Battista Doni is known for having changed the name of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence known as solfège).[2] 'n Sewende noot, "Si" (van die voorletters vir "Sancte Iohannes," Latyn vir Johannes die Doper) was kort daarna bygevoeg om die Diatoniese toonleer te voltooi.[3] Die "Si" was in die negentiende eeu in anglofiele lande deur Sarah Glover verander na "Ti" sodat elke lettergreep kon begin met 'n verskillende letter, begin met 'n verskillende letter (dit het ook "Si" vrygemaak vir latere gebruik as Sol-skerp). "Ti" word gebruik in toniese sol-fa en in die liedjie "Do-Re-Mi".

Die Micrologus, wat geskryf is by die Katedraal van Arezzo en gewy is aan Tedald bevat Guido se onderrigmetode soos wat dit op daardie stadium ontwikkel was. Dit het gou die aandag getrek van Pous Johannes XIX wat Guido na Rome uitgenooi het.

Hy het waarskynlik in 1028 daarna gegaan, maar het egter gou teruggekeer na Arezzo as gevolg van written at the cathedral at Arezzo and dedicated to Tedald, contains Guido's teaching method as it had developed by that time. Soon it had attracted the attention of Pope John XIX, who invited Guido to Rome. Most likely he went there in 1028, but he soon returned to Arezzo, due to his poor health. It was then that he announced in a letter to Michael of Pomposa ("Epistola de ignoto cantu") his discovery of the "ut–re–mi" musical mnemonic. Little is known of him after this time.

The Guidonian hand

Guido is credited with the invention of the Guidonian hand,[4][5] a widely used mnemonic system where note names are mapped to parts of the human hand. However, only a rudimentary form of the Guidonian hand is actually described by Guido, and the fully elaborated system of natural, hard, and soft hexachords cannot be securely attributed to him.[6]

In the 12th century, a development in teaching and learning music in a more efficient manner had arisen. Guido of Arezzo's alleged development of the Guidonian hand, more than a hundred years after his death, allowed for musicians to label a specific joint or fingertip with the gamut (also referred to as the hexachord in the modern era).[verwysing benodig] Using specific joints of the hand and fingertips transformed the way one would learn and memorize solmization syllables. Not only did the Guidonian hand become a standard use in preparing music in the 12th century, its popularity grew more widespread well into the 17th and 18th century.[7] The knowledge and use of the Guidonian hand would allow a musician to simply transpose, identify intervals, and aid in use of notation and the creation of new music. Musicians were able to sing and memorize longer sections of music and counterpoint during performances and the amount of time spent diminished dramatically.[8]

Legacy

A monument to him was erected in his native Arezzo. He is one of the famous Tuscans honored by a statue in the Loggiato of the Uffizi in Florence.

The computer music notation system GUIDO music notation is named after him and his invention.

The "International Guido d'Arezzo Polyphonic Contest" (Concorso Polifónico Guido d'Arezzo) is named after him.

Francisco Valls' controversial Missa Scala Aretina took its name from Guido Aretinus' scale.

See also

References

  1. 1,0 1,1 Stuart Lyons, Horace's Odes and the Mystery of Do-Re-Mi with Full Verse Translation of the Odes. Oxford: Aris & Phillips, 2007. ISBN 978-0-85668-790-7.
  2. McNaught, W. G. (1893). "The History and Uses of the Sol-fa Syllables". Proceedings of the Musical Association. London: Novello, Ewer and Co. 19: 35–51. ISSN 0958-8442. Besoek op 26 Februarie 2010.
  3. Norman Davies, Europe: A History (Oxford and New York: Oxford University Press, 1996), bldsye. 271–7). ISBN 978-0-19-520912-9; ISBN 978-0-19-820171-7.
  4. Claude V. Palisca and Dolores Pesce: "Guido of Arezzo [Aretinus]". Grove Music Online, 11 February 2013. Accessed 11 February 2018. Sjabloon:Subscription
  5. "Solmization" by Andrew Hughes and Edith Gerson-Kiwi, Grove Music Online Sjabloon:Subscription
  6. Claude V. Palisca, "Theory, Theorists, §5: Early Middle Ages", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers).
  7. Bonnie J. Blackburn, "Lusitano, Vicente", Grove Music Online. Oxford Music Online. Oxford University Press. Web. accessed 13 July 2016.
  8. Don Michael Randel, "Guido of Arezzo", The Harvard Biographical Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1996): 339–40.

Further reading

External links

Sjabloon:Wikisource1911Enc