GUIDO OF See also:

• AREZZO (anc. Arretium)

AREZZO (possibly to be identified with Guido de St Maur See also:

• DES

des Fosses)  , a musician who lived in the 1 r th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . He has by many been called the See also:

• FATHER

father of See also:

• MODERN

modern See also:

• MUSIC

music, and a portrait of him in the See also:

• REFECTORY (med. Lat. refectorium, from reficere, to refresh)

refectory of the monastery of Avellana bears the inscription See also:

• BEATUS

Beatus Guido, inventor musicae . Of his Iife little is known, and that little is chiefly derived from the dedicatory letters prefixed to two of his See also:

• TREATISES

treatises and addressed respectively to See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

Bishop Theodald (not See also:

• THEOBALD, (d. 1161)
• THEOBALD, LEWIS (1688-1744)

Theobald, as See also:

• BURNEY, CHARLES (1726-1814)

Burney writes the name) of See also:

• AREZZO (anc. Arretium)

Arezzo, and See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael, a See also:

• MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
• MONK (or MONCK), GEORGE
• MONK, JAMES HENRY (1784-1856)
• MONK, MARIA (c. 1817—1850)

monk of See also:

• POMPOSA

Pomposa and Guido's See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil and friend . Occasional references to the celebrated musician in the See also:

• WORKS

works of his contemporaries are, however, by no means rare, and from these it may be conjectured with all but See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute certainty that Guido was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in the last See also:

• DECADE (from Gr. Oka, ten)

decade of the loth century . The See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth is uncertain in spite of some See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence pointing to Arezzo; on the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title-See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page of all his works he is styled Guido Aretinus, or simply Aretinus . At his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in See also:

• HISTORY

history Guido was a monk in the See also:

• BENEDICTINE

Benedictine monastery of Pomposa, and it was there that he taught singing and invented his educational method, by means of which, according to his own statement, a pupil might learn within five months what formerly it would have taken him ten years to acquire . Envy and See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy, however, were his only rgward, and by these he was compelled to leave his monastery—" inde est, quod me vides prolixis finibus exulatum," as he says himself in the second of the letters above referred to . According to one See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, he travelled as far as See also:

• BREMEN

Bremen, called there by See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

Archbishop See also:

• HERMANN, JOHANN GOTTFRIED JAKOB (1772–1848)
• HERMANN, KARL FRIEDRICH (1804–1855)

Hermann in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to reform the musical service . But this statement has been doubted . Certain it is that not See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long after his See also:

• FLIGHT

flight from Pomposa Guido was living at Arezzo, and it was here that, about 1030, he received an invitation to See also:

• ROME
• ROME (Roma)

Rome from See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John XIV . He obeyed the See also:

• SUMMONS (Fr. semonce, from semonner or semondre, Lat. summonere, summonitio)

summons, and the pope himself became his first and apparently one of his most proficient pupils . But in spite of his success Guido could not be induced to remain in Rome, the insalubrious See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of which seems to have affected his See also:

• HEALTH

health .

In Rome he met again his former See also:

• SUPERIOR

superior, the See also:

• ABBOT (from the Hebrew ab, a father, through the Syriac abba, Lat. abbas, gen. abbatis, O.E. abbad, fr. late Lat. form abbad-em changed in 13th century under influence of the Lat. form to abbat, used alternatively till the end of the 17th century; Ger. Ab
• ABBOT, EZRA (1819-1884)
• ABBOT, GEORGE (1603-1648)
• ABBOT, ROBERT (1588?–1662?)
• ABBOT, WILLIAM (1798-1843)

abbot of Pomposa, who seems to have repented of his conduct, and to have induced Guido to return to Pomposa; and here all See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic records of Guido's See also:

• LIFE

life cease . We only know that he died, on the 17th of May 1050, as See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

prior of Avellana, a monastery of the See also:

• CAMALDULIANS, or CAMALDOLESE

Camaldulians; such at least is the statement of the chroniclers of that order . It ought, however, to be added that the Camaldulians claim the celebrated musician as wholly their own, and altogether deny his connexion with the See also:

• BENEDICTINES, or BLACK MONKS

Benedictines . The documents discovered by Dom Germain See also:

• MORIN, JEAN (latinized JOANNES MORINUS) (1591-1659)

Morin, ' the Belgian Benedictine, about 1888, point to the conclusion that Guido was a Frenchman and lived from his youth upwards in the Benedictine monastery of St Maur See also:

• DES

des Fosses where he invented his novel See also:

• SYSTEM

system of notation and taught the See also:

• BROTHERS, RICHARD (1757-1824)

brothers to sing by it . In codex 763 of the See also:

• BRITISH

British Museum the composer of the " Micrologus " and other works by Guido of Arezzo is always described as Guido de Sancto Mauro . There is no doubt that Guido's method shows considerable progress in the See also:

• EVOLUTION

evolution of modern notation . It was he who for the first See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time systematically used the lines,of the See also:

• STAFF (O. Eng. staef, cf. Du. staf, Ger. Stab, &c.; Icel. stafr meant also a written letter, and O. Eng. stafas, the letters of the alphabet; " stave," one of the thin pieces of wood of which a cask is made, is a doublet)

staff, and the intervals or spatia between them . There is also little doubt that the names of the first six notes of the See also:

• SCALE
• SCALE (1) A

scale, ut, re, mi, fa, sot, la, still in use among See also:

• ROMANCE

Romance nations, were introduced by Guido, although he seems to have used them in a relative rather than in an absolute sense . It is well known that these words are the first syllables of six lines of a hymn addressed to St John the Baptist, which may be given here: Ut queant taxis resonare fibris Mira gestorum famuli tuorum, Solve polluti labii reatum, Sancte Joannes . In addition to this Guido is generally credited with the introduction of the F clef . But more important than all this, perhaps, is the thoroughly See also:

• PRACTICAL

practical See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone which Guido assumes in his theoretical writings, and which differs greatly from the clumsy See also:

• SCHOLASTICISM

scholasticism of his contemporaries and predecessors . The most important of Guido's treatises, and those which are generally acknowledged to be?uthentic, are Micrologus Guidonis de disciplina artis musicae, dedicated to Bishop Theodald of Arezzo, and comprising a See also:

• COMPLETE

complete theory of music, in 20 chapters; Musicae Guidonis regulae rhythmicae in antiphonarii sui prologum prolatae, written in See also:

• TROCHAIC (from Gr. rpoxalos, rpoxaixos; Lat. trochaeus)

trochaic decasyllabics of anything but classical structure; Aliae Guidonis regulae de ignoto See also:

• CANTU, CESARE (1804-1895)

cantu, identidem in antiphonarii sui prologum prolatae; and the Epistola Guidonis Michaeli monacho de ignoto cantu, already referred to .

These are published in the second See also:

• VOLUME

volume of See also:

• GERBERT, MARTIN (172o-1793)

Gerbert's Scriptores ecclesiastici de musica sacra . A very important See also:

• MANUSCRIPT

manuscript unknown to Gerbert (the Codex bibliothecae Uticensis, in the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris library) contains, besides See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor treatises, an antiphonarium and See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual undoubtedly belonging to Guido . See also L . Angeloni, G. d'Arezzo (1811); Kiesewetter, Guido von Arezzo (184o); Kornmuller, " Leben and Werken Guidos von Arezzo," in Habert's Jahrb . (1876); See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Brandi, G . See also:

• ARETINO, PIETRO (1492-1556)

Aretino (1882); G . B . See also:

• RISTORI, ADELAIDE (1822-1906)

Ristori, Biografia di Guido See also:

• MONACO

monaco d'Arezzo (1868) .