Guido d'Arezzo

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Gui·do d'A·rez·zo

 (gwē′dō dä-rĕt′sō) or Guido A·re·ti·no (är′ĕ-tē′nō) 990?-1050.
Benedictine monk and music theorist who devised the four-line staff, thereby allowing precise musical notation.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Guido d'Arezzo

(Italian ˈɡwiːdo daˈrettso)
(Biography) ?995–?1050 ad, Italian Benedictine monk and musical theorist: reputed inventor of solmization
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

Gui•do d'A•rez•zo

(ˈgwi doʊ dəˈrɛt soʊ)
(Guido Aretinus) ( “Fra Guittone” ), c995–1049?, Italian monk and music theorist.
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References in periodicals archive ?
Walter frequently refers to musical notes by their names according to the hexachord system attributed to Guido of Arezzo (ca.
But, as several quotations from Boethius to Guido of Arezzo make clear, the essence of music is the source of its effect; the former weighs heavier than the latter.
In tracing the evolution of musical thought from Classical Antiquity up to Guido of Arezzo and, in the Epilogue, even until the 14th century, Atkinson presents such a wealth of information and in such a dense manner that a concise summary is beyond the scope of this review.
Guido of Arezzo believed that singers were the 'most foolish' of men because they could only learn their chants by repeatedly listening to others sing them.
The teaching of music, assisted by music theories that borrowed from the terminology of grammar (such as Guido of Arezzo's Micrologus), progressed, like language study, from simple basics to more complicated, ornamented forms.
One can explore the numerous sites associated with other early composers -- among them Guido of Arezzo, Palestrina, Schutz, Keiser, Handel, Hasse, Gretry, Haydn, the Wranitskys, Beethoven, Hummel, Weber and Schubert -- and happily many people do, eager for the experience of this kind of personal encounter.
In order to accomplish this, he quoted extensively from the works of early writers, concerning himself only with authors up to Guido of Arezzo. His concern only with authorities active before the middle of the eleventh century, and his consequent avoidance of any of the more practical considerations bearing upon music of his time, may together account for what would at best be regarded as a lukewarm interest in his writings on the part of later scholars.
From its opening quotation of Guido of Arezzo's Prologus in antiphonarium, Mannaerts's analysis captures the reader's interest and clearly summarizes the book at hand.
In this, of course, it would correspond to the contemporary prescriptions of Guido of Arezzo.
Guido of Arezzo's hexachord), but the device, more typical of 100 years before, is here not at all archaic.