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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 writtensy atswak the cathedral at Arezzo and dedicated to Tedald, contains Guido's teaching method as it had developed by that timegesondheid. Soon it had attracted the attention of [[Pope John XIX]], who invited Guido to Rome. Most likelyHy hehet wenttoe thereaangekondig in 1028, but he soon returned to Arezzo, due to his poor health. It was then that he announced in a'n letterbrief toaan Michael ofvan Pomposa ("{{Lang|la|Epistola de ignoto cantu|italic=no}}") hisdat discoveryhy of thedie "ut–re–mi" musicalmusikale mnemonies metode uitgevind mnemonichet. LittleMin is knownoor ofhom himbekend afterna thisdie timetyd.
==The GuidonianDie Guidoniese hand ==
Guido isword creditedgekrediteer withmet thedie inventionuitvinding ofvan thedie [[GuidonianGuidoniese hand]],<ref>[http://www.oxfordmusiconline.com/subscriber/article/grove/music/11968 Claude V. Palisca and Dolores Pesce: "Guido of Arezzo [Aretinus<nowiki>]</nowiki>"]. ''[[Grove Music Online]]'', 11 February 2013. Accessed 11 February 2018. {{Subscription}}</ref><ref>[http://www.oxfordmusiconline.com/subscriber/article/grove/music/26154 "Solmization"] by Andrew Hughes and Edith Gerson-Kiwi, ''[[Grove Music Online]]'' {{Subscription}}</ref> awelke widely'n usedwydverspreide-en mnemonicgebruikte systemmnemoniese wheresisteem noteis nameswaar arenoot mappedname togekoppel partsword ofaan thedele humanvan hand.die However, only a rudimentary form of the Guidonianmenslike hand is actually described by Guido, and the fully elaborated system of natural, hard, and soft [[hexachord]]s cannot be securely attributed to him.<ref>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 (professor of music)|John Tyrrell]] (London: Macmillan Publishers).</ref>
Slegs 'n eenvoudige vorm van die Guidoniese hand word egter deur Guido beskryf, en die volle uitvoerige sisteem van natuurlike, harde, en sagte hexakkoorde kan nie met sekerheid aan hom toegeskryf word nie.<ref>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 (professor of music)|John Tyrrell]] (London: Macmillan Publishers).</ref>
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 (music)|gamut]] (also referred to as the hexachord in the modern era).{{Citation needed|date=July 2016|reason=Bonnie Blackburn certainly does not make this outrageous claim. Who in the modern era confuses a six-note system with a twenty-note one?}} 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.<ref>Bonnie J. Blackburn, "[http://www.oxfordmusiconline.com/subscriber/article/grove/music/17205 Lusitano, Vicente]", Grove Music Online. Oxford Music Online. Oxford University Press. Web. accessed 13 July 2016.</ref> 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.<ref>[[Don Michael Randel]], "Guido of Arezzo", ''The Harvard Biographical Dictionary of Music'' (Cambridge, MA: Belknap Press of Harvard University Press, 1996): 339–40.</ref> ▼
In die twaalfde eeu het meer doeltreffende maniere van die die ontwikkeling van onderrigmetodes en die leer van musiek ontstaan. Guido van Arezzo se beweerde ontwikkeling van die Guidoniese hand, meer as 'n honderd jaar na sy dood, het musikante toegelaat om 'n spesifieke gewrig of vingerpunt te merk met die [[Gamut (musiek)|gamut]] (ook bekend in die moderne era as die hexakkoord).<ref>Verwysing word benodig|date=Julie 2016|reason=Bonnie Blackburn certainly does not make this outrageous claim. Who in the modern era confuses a six-note system with a twenty-note one?}}</ref>
▲InDie thegebruik 12thvan century,spesifieke agewrigte developmentvan indie teachinghand anden learningvingerpunte musichet indie amanier moregetransformeer efficientwaarin manner'n hadmens arisen.solmisasie Guidolettergrepe ofgeleer Arezzo'sen allegedmemoriseer developmenthet. ofDie the GuidonianGuidoniese hand , morehet thannie aslegs hundred years after his death, allowed for musicians to label a specific joint or fingertip with the [[Gamut (music)|gamut]] (also referred to as the'n hexachordstandaardgebruik in thedie modernvoorbereiding era).{{Citation needed|date=July 2016|reason=Bonnie Blackburn certainly does not make this outrageous claim.van Whomusiek in thedie modern12de eraeeu confusesgeword anie, six-notemaar systemdie withmetode ase twenty-notegewildheid one?}}het Usingmeer specificwydverspreid 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 usegeraak in preparing music in the 12th century, its popularity grew more widespread well into thedie 17th17de andeen 18th18de centuryeeu.<ref>Bonnie J. Blackburn, "[http://www.oxfordmusiconline.com/subscriber/article/grove/music/17205 Lusitano, Vicente]", Grove Music Online. Oxford Music Online. Oxford University Press. Web. accessed 13 July 2016.</ref> 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.<ref>[[Don Michael Randel]], "Guido of Arezzo", ''The Harvard Biographical Dictionary of Music'' (Cambridge, MA: Belknap Press of Harvard University Press, 1996): 339–40.</ref>
==Legacy==
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