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be found in manuscripts from central Italy from the 11th and 12th centuries,
showing the influence of Guido's antiphoner, which is itself lost. The
coloured lines disappeared in the 13th century, while the key-letters survive
to the present day in the guise of F, C and G clefs.
(iii) Micrologus.
This work is addressed to singers, and its object is to improve their skill in
using the new notation and in singing both familiar and unfamiliar chants at
sight. Guido encouraged the use of the monochord for learning the precise
distance of intervals. He recognized a gamut of 21 steps, as shown in ex.1,
including two forms of b in the upper two octaves, which extends upwards by
the 5th the gamut set forth in the Dialogus (usually attributed to Abbot Odo
but probably – according to Huglo – written by an anonymous Lombard).
Guido derived the intonation of this gamut by both a conventional division of
the monochord and a new one which reduced the number of measurements
to five, a method adopted as the mensura Guidonis by a number of Guido's
successors, notably Johannes Cotto.
Guido preferred the designations ‘modes’ or ‘tropes’ to ‘tones’, and the terms
‘protus’, ‘deuterus’, ‘tritus’ and ‘tetrardus’ to the numbering from one to eight,
although his four modes divide into eight through the authentic–plagal
distinction. The chief determinant of modality for Guido was the final note of
a chant and the relationship of all previous notes to it, particularly the initial
note and the endings and beginnings of a chant's distinctiones or phrases.
He spoke in some detail about the allowable descent and ascent from the
final, and wondered at the diversity of appeal of the modes, ‘one person
being attracted to the lame hops of the authentic deuterus, another to the
joyfulness of the plagal of the tritus, one by the volubility of the authentic
tetrardus, and another by the sweetness of the plagal of the tetrardus’
(chap.xiv).
One of the most original chapters in the Micrologus is that on the
composition of melodic lines (chap.xv). Here Guido compared the parts of a
melody to those of verse, the individual sounds being analogous to letters,
and groups of them to syllables, while groups of syllables make up a neume,
parallel to a ‘part’ or foot in poetry; several neumes make up a ‘distinction’,
which, like the end of a line, is a suitable place to breathe. The end of each
part of a melody is marked by a held note or pause, shorter or longer
depending on the structural level of the part, being shortest for the ‘syllable’,
longest for the ‘distinction’. It is in this connection that Guido made a
suggestion that has given rise to controversy, when he said that ‘it is good to
beat time to a song as though by metrical feet’.
Guido advocated arranging neumes in a composition so that their lengths
are equal or in simple ratios to each other, varying the number of units as
the poet juxtaposes different feet in a verse. Lengths of phrases or
‘distinctions’ should also bear such relationships to each other. Like the
boundless multitude of words created out of a few syllables, all chant is
made by joining only six intervals either in upward or downward sequence,
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that is arsis or thesis, with the intermixture of single and repeated notes.
How these various kinds of motion are combined forms the subject of
Guido's theory of motus, and their permutations are demonstrated in a
diagram that challenged the ingenuity of medieval illustrators (fig.2). These
considerations led Guido to suggest a mechanical method of melodic
invention or improvisation (chap.xvii) through lining up with the rising steps
of the gamut the vowels a e i o u as shown in ex.2.
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an unwritten melody and wishing to notate it, when he would match the
order of tones and semitones in the appropriate phrase of Ut queant to the
unwritten phrase; or in learning an unknown written melody, in which case
he must match the notated neumes to the familiar phrases of the Ut queant
and thereby derive the sound of the unknown neumes. ‘Hearing some
unwritten neume, consider which phrase [of the hymn] most agrees with the
end of the neume, so that the last note of the neume and the first of the
phrase [of the hymn] are unisons …. On the other hand, if you wish to begin
to sing some written melody, you must be very careful that you end each
neume properly so that its end fits the beginning of the phrase [of the hymn]
whose first note begins on the note with which the [unknown] neume ends’.
Whether Guido went beyond this application of the hymn's stepwise rising
series of melodic incipits to devise a method of solmization cannot be
established from known documents. However, among the manuscripts
containing the Epistola five of the oldest, dating from the 11th century to the
12th, present a second text set to the hymn: ‘Tri-num et unum Pro nobis
miseris De-um precemur Nos puris mentibus Te obsecramus Ad preces
intende Do mine nostras’. In one of these manuscripts (F-Pn lat.7211, 12th
century) the scribe added a simpler melody to these syllables and finally
superscribed over the pitch letters of ex.1 the syllables of the Tri series
starting on Γ, C, F, G, c, f and g. Johannes Cotto (c1100) observed that the
Italians used other syllables than the ut series, and this was still
remembered by Ramis de Pareia, who cited in Musica practica (1482),
chap.vii, the syllables tri pro de nos te ad do. To have initiated a method of
solmization with one or the other set of syllables would have been quite
consistent with Guido's constant search for effective devices to train the eye
and ear. Similarly, the so-called Guidonian hand may have been adopted by
him as an aid to training singers (see ..\Frames/F006218.htmlSolmization,
figs.1 and 2). Although the hand occurs in pre-Guidonian manuscripts as a
method of finding the semitones of tetrachords, it does not take its
well-known form showing the solmization syllables until the 12th century.
Sigebertus Gemblacensis (c1105–10) in his Chronica (PL, clx, 204)
nevertheless credited Guido with assigning ‘six letters or syllables to six
notes … and he set them out on the joints of the fingers of the left hand
throughout the diapason so that their upward and downward ascents and
descents would impress themselves on the eyes and ears’.
(vi) Commentaries.
Guido's writings, particularly the Micrologus, became the subject of
numerous commentaries beginning in the 11th century. Apart from those in
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the treatises of Aribo and Johannes Cotto, the most important of these are
anonymous: Liber argumentorum and Liber specierum, both probably of
Italian origin, from between 1050 and 1100; Metrologus, probably of English
origin from the 13th century; and the so-called Commentarius anonymus in
Micrologum, edited by C. Vivell in 1917, which Smits van Waesberghe has
shown to have been written in Liège either by a native author or one of
Bavarian origin between c1070 and 1100. A compilation usually illustrated
with elaborate charts of the hexachord system and consisting essentially of
the poem Regulae rhythmicae, the prologue to the antiphoner, and the
Epistola passed in the 16th century as the Introductorium of Guido.
Guido of Arezzo
WRITINGS
[Prologus in antiphonarium], ed. J. Smits van Waesberghe: Tres tractatuli
Guidonis Aretini, Divitiae musicae artis, ser.A, iii (Buren, 1975); ed. and
trans. Pesce (1999); also ed. as Aliae regulae, GerbertS, ii, 34-7; Eng.
trans. in StrunkSR
Micrologus (near or in Arezzo c1026 but not before 1026 or after 1032),
GerbertS, ii, 2; ed. J. Smits van Waesberghe, CSM, iv (1955); Eng.
trans. in Hucbald, Guido, and John on Music: Three Medieval Treatises,
ed. C.V. Palisca (New Haven, CT, 1978); Ger. trans., ed. M.
Hermesdorff (Trier, 1876)
[Regulae rhythmicae], ed. J. Smits van Waesberghe: Guidonis Aretini
‘Regulae rhythmicae’ (Buren, 1985); ed. and trans. Pesce (1999); also
ed. in GerbertS, ii, 25–33
[Epistola ad Michaelem], ed. and trans. Pesce (1999); also ed. as Epistola
de ignoto cantu, GerbertS, ii, 43–50; partial Eng. trans. in StrunkSR;
Ger. trans., ed. M. Hermesdorff (Trier, 1884)
Guido of Arezzo
BIBLIOGRAPHY
J. Smits van Waesberghe: ‘The Musical Notation of Guido of Arezzo’, MD,
v (1951), 15–53
J. Smits van Waesberghe: ‘Guido of Arezzo and Musical Improvisation’,
MD, v (1951), 55–63
J. Smits van Waesberghe: De musico-paedagogico et theoretico Guidone
Aretino (Florence, 1953)
J. Smits van Waesberghe: ‘Guido von Arezzo als Musikerzieher und
Musiktheoretiker’, GfMkB: Bamberg 1953, 44-7
H. Oesch: Guido von Arezzo (Berne, 1954) [contains useful bibliography]
J. Smits van Waesberghe, ed.: Expositiones in Micrologum Guidonis
Aretini (Amsterdam, 1957)
C.-A. Moberg: ‘Die Musik in Guido von Arezzos Solmisationshymne’, AMw,
xvi (1959), 187–206
M. Huglo: ‘L'auteur du “Dialogue sur la musique” attribué à Odon’, RdM, lv
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(1969), 119–71
J. Smits van Waesberghe: ‘Wie Wortwahl und Terminologie bei Guido von
Arezzo entstanden und überliefert wurden’, AMw, xxxi (1974), 73–86
E.L. Waeltner and M. Bernhard: Wortindex zu den echten Schriften Guidos
von Arezzo (Munich, 1976)
C.V. Palisca: introductions to Guido: Micrologus, and John: On Music,
Hucbald, Guido, and John on Music (New Haven, CT, 1978), 49–56,
87–100; latter repr. in Beyond the Moon: Festschrift Luther Dittmer, ed.
B. Gillingham and P. Merkley (Ottawa, 1990), 144–62
K. Berger: ‘ The Hand and the Art of Memory’, MD, xxxv (1981), 87–119
S. Fuller: ‘ Theoretical Foundations of Early Organum Theory’, AcM, liii
(1981), 52–84
T. Russel: ‘ A Poetic Key to a Pre-Guidonian Palm and the Echemata’,
JAMS, xxxiv (1981), 109–118
J. Chailley: ‘ Ut queant laxis et les origines de la gamme’, AcM, lvi (1984),
48–69
M. Huglo: ‘Bibliographie des éditions et études relatives à la théorie
musicale du Moyen Age 1972–1987’, AcM, lx (1988), 229–72
K.-J. Sachs: ‘ Tradition und Innovation bei Guido von Arezzo’, Kontinuität
und Transformation der Antike im Mittelalter: Freiburg 1987, ed. W.
Erzgräber (Sigmaringen, 1989), 233–44
F. Reckow: ‘Guido's Theory of Organum after Guido: Transmission,
Adaptation, Transformation’, Essays on Medieval Music in Honor of
David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 395–413
D. Pesce: Guido d'Arezzo's ‘Regulae rhythmicae’, ‘Prologus in
antiphonarium’, and ‘Epistola ad Michaelem’: a Critical Text and
Translation with an Introduction, Annotations, Indices and New
Manuscript Inventories (Ottawa, 1999)
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