This essay describes how Guido d'Arezzo changed music history by creating his own system. As a conclusion, a short summary of is Guidonien Hand and how it changed music history giving the possibility for more people to learn solfege more rapidly…
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For a 10 year period from approximately 1015 to the time he left Pompey, there is very little documented reference to his life. (Adduci) He left the Monastery in 1025 because of his undocumented (musical) differences.The church wanted to maintain the oral tradition. They were threatened by innovation. Losing control over the chants would give more power to the people to compose. The church had recognized a sort of power by forbidding any composition other than church composition. After leaving Pompey, he went to Arezzo where he was given a job as teacher in the cathedral and possibly regain his previous job as cantor. He lived there until his death until 1050. During this time he wrote treatises, his famous hand and changed the staff system of notation.Music notation in the 10th century was complicated and not comprehensible to the majority of the catholic monks. It was mostly an oral tradition that was common in most cultures. In the Hebrew Torah, the voice rises and lowers according to a notation that is learned through oral tradition today. The use of lines and dots was common to the Greeks also. The neumes could only be read by a select few. It was highly improbable that the chants of the Northern cathedrals were recognizable by Rome. As they only indicated the direction of the voice, the sound of the chant changed depending on the region of the church. The same chant sung in Northern Europe would not sound the same as it would in Rome. The neumes showed the inflection and descent of the voice....
He lived there until his death until 1050. During this time he wrote treatises, his famous hand and changed the staff system of notation. Music notation in the 10th century was complicated and non comprehensible to the majority of the catholic monks. It was mostly an oral tradition that was common in most cultures. In the Hebrew Torah, the voice rises and lowers according to a notation that is learned through oral tradition today. The use of lines and dots was common to the Greeks also. The neumes could only be read by a select few. It was highly improbable that the chants of the Northern cathedrals were recognizable by Rome. As they only indicated the direction of the voice, the sound of the chant changed depending on the region of the church. The same chant sung in Northern Europe would not sound the same as it would in Rome. The neumes showed the inflection and descent of the voice. The development of early church notation lead towards fewer and fewer monks chanting. As the church grew there were fewer men to pass on the oral tradition. The first illustration shows the lines of the neumes. Guido d'Arrezo A change in Musical History Early notation of pre d'Azzero church chants were signs above the words. The inflection of the voice were indicated by complicated, non standardized notation which had been used for generation upon generation. There are factures which must be taken into consideration as to the difficulty of the form of notation. The chanting was only allowed to be performed by the Church. Each chant was passed from one generation to another. The notation was based on the inflection of the voice not on changes of tone. Church documents were limited due to fewer and
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