solmization


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sol·mi·za·tion

 (sŏl′mĭ-zā′shən)
n. Music
The act or a system of using syllables, especially sol-fa syllables, to represent the tones of the scale.

[French solmisation, from solmiser, to sol-fa : sol, note of the scale (from Medieval Latin; see gamut) + mi, note of the scale (from Medieval Latin; see gamut).]

solmization

(ˌsɒlmɪˈzeɪʃən) or

solmisation

n
(Music, other) music a system of naming the notes of a scale by syllables instead of letters derived from the 11th-century hexachord system of Guido d'Arezzo, which assigns the names ut (or do), re, mi, fa, sol, la, si (or ti) to the degrees of the major scale of C (fixed system) or (excluding the syllables ut and si) to the major scale in any key (movable system). See also tonic sol-fa
[C18: from French solmisation, from solmiser to use the sol-fa syllables, from sol1 + mi]

sol•mi•za•tion

(ˌsɒl məˈzeɪ ʃən, ˌsoʊl-)

n.
the act, process, or system of using syllables to represent the tones of a musical scale.
[1720–30; < French solmisation=solmis(er) <sol sol1 + mi mi + -iser -ize]
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.solmization - a system of naming the notes of a musical scale by syllables instead of letters
musical notation - (music) notation used by musicians
solfa, tonic solfa - a system of solmization using the solfa syllables: do, re, mi, fa, sol, la, ti
2.solmization - singing using solfa syllables to denote the notes of the scale of C major
singing, vocalizing - the act of singing vocal music
References in periodicals archive ?
Named after the most successful of the numerous shape-note tune books that were compiled in that region and period, The Sacred Harp (1844), the tradition as practiced in the South includes a number of time-honored customs such as opening and closing the session with prayer, shared leadership, arrangement of the singers into a "hollow square" with the leader in the middle, and singing the tune using solmization syllables before performing the words.
Lyons, a former Classics scholar at King's College in Cambridge, provides an English translation of Horace's Odes, along with historical background; information on Horace's life and education and interpretations of him as a songwriter; and how the odes are the source for Guido d'Arezzo's solmization system.
Its wide array of images (that includes, instruments, mnemonic aids, musical notation, tuning diagrams, dance steps, and more), descriptions of instrumental designs, and explanations of musical concepts (such as, solmization, origin of the scale, harmony of the spheres, etc.
The chapters discuss metre and measure, text underlay, the tonal system, solmization and modes, followed by an edition of two representative late fourteenth-century ballades, both anonymous: Fuies de moy, Envie, trestout Ire and L'escu d'amours dont le champ est d'argent.
Or, in serious contemporary art, that televisual disdain for "hypocritical" retrovalues like originality, depth, and integrity has no truck with those recombinant "appropriation" styles of art and architecture in which past becomes pastiche,[25] or with the tuneless solmization of a Glass or a Reich, or with the self-conscious catatonia of a platoon of Raymond Carver wannabes?
In 1917, Wolfli began composing music by means of solmization, replacing traditional notation with an obscure code of words and symbols.
Guido of Arezzo is surely the most familiar of all Medieval music theorists; certainly no history of music course fails to introduce Guido as the inventor of the staff and of solmization.
Despite early and lingering criticisms, he says, Bathe's theories are neither confused nor misleading about the practice of solmization in late-16th-century England, though his discussions of these theories can be disorienting for readers not acquainted with the rhetorical strategies of the period.
D'Accone laments the lack of information concerning the formal musical training of [male] Florentines in this period, even in Cathedral schools and monasteries: "No reports of the typical musical curriculum have survived, but it seems reasonable to assume that solmization and methods of vocal production, the basic principles of mensural notation and perhaps even some elementary counterpoint were taught to youngsters" (1992, 280).
12) begins with a progression to which the singers would have to imagine the hexachord sounds "fa mi" ("ut" being mentally placed on various different degrees), and that must in turn have made them think of the many times when that solmization had been used for setting "ahi," "ay me," or "ohime" in secular literature.