Guido van Arezzo: Verskil tussen weergawes

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(Nuwe bladsy geskep met 'thumb|upright|Statue of Guido in Arezzo '''Guido van Arezzo''' (ook '''Guido Aretinus''', '''Guido Aretino''', '''Guido da Arezzo'...')
 
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Guido was 'n [[Benediktyne]]e [[monnik]] van die [[Italiaans]]e 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,<ref name="Stuart Lyons Do-Re-Mi">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}}.</ref> en sy geboortedatum geag word as omstreeks 991 n.C. of 992 n.C. te wees. Sy vroee loopbaan was spandeer by die [[Pomposa Abdy|Klooster van Pomposa]] by die [[Adriatiese See]]kus 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. [[Tedald (Biskop van Arezzo)|Biskop Tedald]] het Arezoo uitgenooi om hul opleiding waar te neem.
He came up with a method for teaching the singers to learn chants in a short time, and quickly became famous throughout north Italy. However, he attracted the hostility of the other monks at the abbey, prompting him to move to Arezzo, a town which had no abbey, but which did have a large group of cathedral singers, whose training [[Tedald (Bishop of Arezzo)|Bishop Tedald]] invited him to conduct.
 
WhileTerwyl Hy in at Arezzo, hewas developedhet newhy techniquesnuwe fortegniek teaching,van suchonderrig asontwikkel, staffsoos [[Notebalk]]notasie notationen anddie thegebruik usevan ofdie the "ut–re–mi–fa–so–la" ([[Solfège|do–re–mi–fa–so–la]]) [[mnemonicmnemoniese]] ([[solmizationsolmisasie]]). The ut–re–mi-fa-so-la syllables are taken from the initial syllables of each of the first six half-lines of the first stanza of the [[hymn]] ''[[Ut queant laxis]]'', whose text is attributed to the Italian monk and scholar [[Paul the Deacon|Paulus Diaconus]] (though the musical line either shares a common ancestor with the earlier setting of [[Horace]]'s "[[:la:s:Carmina (Horatius)/Liber IV/Carmen XI|Ode to Phyllis]]" (''[[Odes (Horace)|Odes]]'' 4.11), recorded in the Montpellier manuscript H425, or may have been taken from it).<ref name="Stuart Lyons Do-Re-Mi" /> [[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]]).<ref name="McNaught">
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